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This dissertation analyzes chronicles, novels, comics, poetry, theatre, films, and visual art that present the end of the world as a subversive and resistant response to the capitalist and neoliberal power structure of the Latin American city from last half of the 20th century to the beginnings of the 21st century. I have identified three areas of urban apocalypse in Latin America, which structure my chapters: 1) Eco-apocalypse, where I draw from indigenous thought to develop a new epistemology that is centered on seismic imaginaries in Mexican cultural production (cultural productions about earthquakes); 2) Socio-apocalypse, which portrays the end of the world as a result of the decomposition of society which is a direct consequence of violence, infection and the cannibal city (cultural productions about zombies); and 3)Techno-apocalypse or the end of the world due to technological monstrosities, which depicts the destruction of vital urban spaces as a result of technological disasters as evidenced in Glitch Cinema. In addition to foregrounding the emergence of an apocalyptic Latin American paradigm, opposed to the hegemonic structure adopted from the U.S., I claim that these imaginaries unmask new approaches to trauma, memory and urban theories, from a Latin American perspective. Using the frameworks of ecocriticism, anthropology of disaster, urban studies, postmodernism and even engineering in risk management and computer science, I examine audiovisual media, literature, performance, comics, and visual art to trace and uncover these artists, and find a reason why their creations were developed. By engaging interdisciplinary dialogue and a unique connection between science and humanities, these works contribute to global discussions about apocalyptic imaginaries, representing the challenges of the region. Through horror, humor and satire, I conclude that these productions are a cathartic tool that helps the elaboration of trauma, memory, uncertainties and inequalities of the region.