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THE MEDIUM IS THE MASSACRE: BROADCASTING FROM THE APOCALYPSE IN THE WAR OF THE WORLDS by MICHAEL DE SANTIS B.A., University of Calgary, 2014 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (English) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) March 2018 © Michael De Santis, 2018 ii Abstract In this thesis, I discuss the 1938 radio play The War of the Worlds, analyzing the circumstances of its broadcast, its representation of apocalypse, and its manipulation of the medium of radio through its form of a simulated news program. I propose that the immediate hysteria it caused and the enduring anxieties it left were because of its medium more than any verisimilitude achieved in its tired and recycled narrative of Martian invasion. I consider qualities of radio as a telecommunicative and single- sensory medium, the demands of apocalyptic representation, and how the broadcast manipulated these qualities of radio to satisfy these representational demands, thus portraying an account of simulated apocalypse that was, on a formal and medial level, indistinguishable from a real one over the radio. Borrowing from the work of Richard Berger, I discuss how apocalyptic representation must occur immediately and immanently with the apocalypse itself; that is, the representation must be separated neither by time nor space with what it represents, right until the annihilating end. While many media cannot facilitate these demands of apocalyptic representation, instead reverting to prophetic or post- apocalyptic representation, I suggest that telecommunicative media are able to navigate the demands of truly apocalyptic representation through their overcoming of spatial separation and temporal delay.
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