al', 'innocent' present against an 'conceptual', 'evil' future is very similar to methods employed by writer/director David Lynch in his film Blue Velvet, for as Norman Denzin notes:
             "Postmodernist too, according to Denzin, is the way the film mixes the 'unrepresentable' (rotting ears, sexual excess, brutality, insanity) and the commonplace [bright fire tucks, small-town America, white picket fences and rows of trees], thereby challenging the boundaries which separates the two realms."
             I would go on to say that just as this makes the apocalypse to come more believable, it also makes it more horrific; for unlike the other future apocalypse movies which filled the video shelves of the 1980s, such as the appalling Steel Dawn, The Terminator allows a basis of comparison to exist between today's present and the possibility of tomorrow. Even George Miller's popular Mad Max trilogy only touch upon these possibilities briefly be
             ...