#Disasters in Film

[thatdisasterauthor]

Do you ever find an academic article that just makes you GIDDY with how many of your personal buttons it hits? Because:

I was just trying to gather articles for future reading, but this one is getting printed out RIGHT NOW.

[kylorenscar]

"...and I have to live with that. Forever."

[abbeyofcyn]

Krang infection

Masterpost

NEXT

[gunsatthaphan]

✨🕶️💫

[avephelis]

look technically it's a horror movie okay (risetober 19: scary movie)

[sully-s]

Okay so I can't stop thinking about a Cloverfield AU where Edgeworth has to save Trudy who's miles across town because she was getting a surprise gift for Phoenix and Edgeworth is the only one who knows where she and the phones are down.

And in this, Trudy doesn't know Edgeworth very well and doesn't like him very much. Put off by how stiff and blunt he can be.

But during the trials of getting back to Phoenix, she sees his other sides, and they bond with Trudy coming to the realization that Edgeworth might actually be the most competent adult in her life. (Like yeah Wright is a great dad because he gives lots of love but he's a bit hopeless sometimes and Trudy often feels like she has the be the gown up)

And like the idea of the conflict and safety that Turdy would have to internally battle with letting Edgeworth just be the adult and make sure she gets home. By the time they find Phoenix (who has a whole journey trying to find her), Trudy basically demands Phoneix marry Edgeworth and won't take any other optional moms or dads.

[hischiersjohnston]

RED, WHITE & ROYAL BLUE | FIRSTPRINCE + FAVE MOMENTS ( 5 / 10 )

The Red Room and their One Shared Braincell

[disease]

HARRIS & EWING / "TORNADO" / 1913–17 [glass negative | 5 x 7"]

[thatdisasterauthor]

I am reading a paper for my disasters in film class that is, supposedly, about myths in disaster films and. Y'all. I have so much fucking beef with the people who wrote this paper. And I'm only halfway through it.

I'm getting the urge to look up this journal and send in an official rebuttal because you are all SO WRONG.

[elizabugz]

[giveamadeuschohisownmovie]

I don’t know if the Twisters casting director was thinking this deeply about the casting, but part of me wants to believe that the reason why Glen Powell and Anthony Ramos were cast was because of typecasting. Or, in this case, quasi-against-type casting.

Because a major part of the movie is the double twist that Tyler is actually a good guy trying to raise money for people affected by the tornadoes while Javi is actually working for a real estate mogul who wants to take advantage of tornado victims. So to sell the double-turn, casting is key here.

From what I’ve seen of the actors, Glen is pretty good at playing the jerk based on Top Gun: Maverick while Anthony has that likable persona about him that stems from his roles in Hamilton. I want to believe that the casting director thought the same way. Use the actors’ typecasting to throw off the audience’s expectations.

I’ll say this. Tyler Owens’ turn would not be anywhere near as effective if someone like Chris Evans or Chris Hemsworth played him. Along the same lines, Javi’s turn would not be anywhere near as effective if someone like Tony Revolori (Flash from the MCU Spiderman movies) played him.

[mccallhero]

favourite ouat scenes: 54/?

[the-woman-upstairs]

Twisters is so funny because we’re first introduced to the corporate sponsored tornado chasers and they’re just…a boring collection of dudes. Totally bland, with barely a single personality between them. And then in come the Tornado Wranglers: the hottest, gayest collection of exuberant fun-loving weirdos you could possibly imagine. And it’s like…gee I wonder who the good guys are.

[70sscifiart]

Italian poster art for The Bermuda Triangle, 1978

[thatdisasterauthor]

What's your favorite part of disaster research?

Ohohoo. I could go on about this one for HOURS.

But, at it's core: my favorite thing is looking into how and why we tell disaster stories the way we do, both in fiction and non-fiction. As an extension of that, how the fiction and non-fiction aspects intersect. Why do we focus on the elements we do? Why does media coverage of disasters work the way it does? Why do we believe so many myths about disasters like looting and panic behavior and everyone-for-themselves? How can we use fiction to better inform non-fiction, and non-fiction to better inform fiction?

Here's an example of fiction to better inform non-fiction: in Emergency Management, it's a common sentiment that it isn't necessarily the plan you come up with that's useful, it's the act of making that plan. The actual plan you make is probably going to fall apart at some point, because you can never plan perfectly. A plan is fiction. It's fiction heavily based in reality, but it is still imagining scenarios that have not actually happened. But in the act of making it you are going to learn so much about yourself, the people you work with, the place you live, etc. and that knowledge is going to be what saves you.

A perfect example of this is Gander, Canada during 9/11. Gander is a little town that also happens to have the eastern most airport in Newfoundland on the east coast of Canada that can take large passenger jets. In the 90s, as everyone was preparing for Y2K, Gander realized that if we did have a worst-case Y2K, there would be a ton of jets stranded over the Atlantic that would need a place to land immediately, and that meant landing in Gander. So they made a plan. They fictionalized the scenario to figure out what they would need to do to deal with that outcome. But then Y2K didn't amount to much and the plan was thrown away, because they'll never need a plan like that again, right?

Cut to almost two years later when 9/11 occurs and what happens? Air traffic in the US is shut down and suddenly there's tons of jets stranded over the Atlantic with nowhere to go and desperate for a place to land. So what does Gander do? They've thrown out their actual plan for this. But it didn't matter because they'd learned from it, and they remembered what they'd learned. Gander ended up taking in nearly 7,000 refugees from dozens of jets. It nearly doubled their population in just a handful of hours. Everyone in town came together to get these people safe, get them comfortable, and help them figure out what the hell to do next. (There's actually a Broadway musical about it called "Come From Away.")

So how do we make those sorts of plans? How do we develop them to be as helpful as possible in a way that is understandable and digestible so that it can be as effective as possible?

Then, of course, there's non-fiction informing fiction which is a bit more obvious as to how that all works. We've been doing studies since WWII that have told us how people behave in disasters, and it very much does not match the way Hollywood usually portrays it. So why? Why are we so obsessed with these disaster myths? Why are those the core aspects our cultures keep sinking their teeth into?

So. Yeah. :P

That's my favorite aspect of disaster stuff. I may or may not be looking into pursuing a PhD at this point. >.>

[lemongrablothbrok]

Happy pride to these two hot messes here.