Modern Popular Culture and The Stone Age
The image of the caveman is commonly associated with the Stone Age. For example, the 2003 documentary series showing the evolution of humans through the Stone Age was called Walking with Cavemen, although only the last programme showed humans living in caves. While the idea that human beings and dinosaurs coexisted is sometimes portrayed in popular culture in cartoons, films and computer games, such as The Flintstones, One Million Years B.C. and Chuck Rock, the notion of hominids and non-avian dinosaurs co-existing is not supported by any scientific evidence.
Other depictions of the Stone Age include the best-selling Earth's Children series of books by Jean M. Auel, which are set in the Paleolithic and are loosely based on archaeological and anthropological findings. The 1981 film Quest for Fire by Jean-Jacques Annaud tells the story of a group of neanderthals searching for their lost fire. A twenty first century series, "Chronicles of Ancient Darkness" by Michelle Paver tells of two New Stone Age children fighting to fulfil a prophecy and save their clan.
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Famous quotes containing the words modern, popular, culture, stone and/or age:
“We must open our eyes and see that modern civilization has become so complex and the lives of civilized men so interwoven with the lives of other men in other countries as to make it impossible to be in this world and out of it.”
—Franklin D. Roosevelt (1882–1945)
“One knows so well the popular idea of health. The English country gentleman galloping after a fox—the unspeakable in full pursuit of the uneatable.”
—Oscar Wilde (1854–1900)
“All objects, all phases of culture are alive. They have voices. They speak of their history and interrelatedness. And they are all talking at once!”
—Camille Paglia (b. 1947)
“Why silk is soft and the stone wounds
The child shall question all his days,
Why night-time rain and the breast’s blood
Both quench his thirst he’ll have a black reply.”
—Dylan Thomas (1914–1953)
“Nothing in medieval dress distinguished the child from the adult. In the seventeenth century, however, the child, or at least the child of quality, whether noble or middle-class, ceased to be dressed like the grown-up. This is the essential point: henceforth he had an outfit reserved for his age group, which set him apart from the adults. These can be seen from the first glance at any of the numerous child portraits painted at the beginning of the seventeenth century.”
—Philippe Ariés (20th century)