Seite - 72 - in JRFM - Journal Religion Film Media, Band 05/02

to cover their lack of divinities. Something similar could be said of the cin- ematographic sagas of The Lord of the Rings I–III (Peter Jackson, US/UK/ NZ 2001–2003), Star Wars I–VI (George Lucas, US 1977–2005), Harry Pot- ter I–VIII (Various Directors, UK 2001–2011), Superman (Richard Donner, US 1978), Batman (Tim Burton, US 1989), and Tarzan (Kevin Lima and Chris Buck, US 1999). Comparable narratives can be found within graphic novels, computer games, and other media; the homo religious is still alive and very active.11 This article revolves around three key notions: critical dystopia, authentici- ty, and apocalypse, putting forward their significance and main content with- in the realm of modern popular music. Especial attention is given to “critical dystopia” because of its relevance for the research. APOCALYPSE Apocalypse means “revelation”, not destruction/devastation/catastrophe.12 De- spite this fact, there is no doubt about the weight of biblical-based mythology at present, visible in the “current American enthusiasm for apocalyptic litera- ture.”13 Robert Geraci puts forward a positive assumption of the apocalypse as an agent of transformation and virtual immortality; believers will expect a catharsis leading to a new and perfect existence.14 The book of Revelation also involves martyrdom and salvation: “Martyrdom is a prominent feature of the Apocalypse. In fact, Revelation contains the earliest depiction of martyrs in a post-mortem state.”15 The pain-to-glory metamorphosis could be interpreted as a liminal transition in rock musicians who sacrifice themselves (e. g., via drugs) to gain sacred status even if their life is the price, in line with the well-known motto “live fast, die young and leave a pretty corpse”. Martyrs in Revelation “follow the Lamb wherever he goes” (14:4), and this includes his martryogical [sic] pattern of death, resurrection and glorification. … The martyrs are also presented as faithful witnesses … they are redeemed from the dead (14:3) and sit on Christ’s throne (3:22) to reign (20:6) and judge the nations (2:26). In other words, the martyrs do what Christ does. … As Jesus’ death became a paradigmatic model of discipleship, those who followed his path of suffering and martyrdom came themselves to function in some way as “second Christs”.16 11 Campos 2020. 12 Chang 2011. 13 Bendle 2005. 14 Geraci 2010. See Heim 2017. 15 Middleton 2015, 113. 16 Middleton 2015, 114. 72 | Javier Campos Calvo-Sotelo www.jrfm.eu 2019, 5/2, 69–94