Abstract
This article is devoted to the identification and research on films of “eschatological catastrophism”, their evolution and features. The concepts of “catastrophism” and “eschatology” and their relationship are indicated, and on this basis the author's concept of “eschatological catastrophism” in cinema and its attributive signs are revealed. The methodology used in this article includes the analysis and synthesis of films, considering the historical dynamics and their relationship with the socio-cultural context of the era. The study covers films produced in the USA, France, Italy, China, and Canada and other countries. The general trends in the development of eschatological catastrophism films, the factors that determined the rise of these films, are reflected. This research explains the reasons behind the popularity of catastrophe films in a particular period, and using the method of sociocultural observation, the philosophy of films and the dynamics of changes in the semantic context of eschatological catastrophism in the period from 1910-2020 are tracked. The possible reasons for the demand for the secular apocalypse films at the intersection of the XX-XXI centuries are discussed.
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