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"They're Us": Representations of Women in George Romero's 'Living
"They’re Us": Representations of Women in George Romero’s ‘Living Dead’ Series Stephen Harper In the opening scene of George Romero’s 1978 film Martin, a teenage sexual psychopath kills and drinks the blood of a young woman in her sleeper train compartment during a struggle that is protracted, messy and far from one-sided. Although women are often victims in Romero’s films, they are by no means passive ones. Indeed, Romero is seldom in danger of objectivising or pornographising his female characters; on the contrary, Romero’s women are typically resourceful and autonomous. This paper analyses some of Romero’s representations of women, with particular reference to the four ‘living dead’ films which Romero made over a period of more than thirty years. These are Night of the Living Dead (1968), Dawn of the Dead (1979), Day of the Dead (1985) and the 1990 remake of Night. [1] All of these films feature a group of human survivors in an America overrun by zombies. The survivors of Night hole up in a house; in Dawn the sanctuary is a shopping mall; while in Day, the darkest of the films, it is an underground military installation. Unsurprisingly, these savage and apocalyptic zombie films contain some of Romero’s most striking representations of active and even aggressive women. This in itself hints at a feminist approach. While Hollywood films typically eroticize and naturalise male violence and emphasise female passivity, Romero uses his zombies to undermine such assumptions. Romero’s female zombies are not only undead but virtually ungendered; for instance, they are responsible for as many acts of violence as their male counterparts. -
ABSTRACT Title of Document: COMMUNICATING FEAR in FILM
ABSTRACT Title of Document: COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS Pedro Gonzalez-Fernandez Master of Arts, 2014 Directed By: Dr. Patrick Warfield, Musicology The horror film soundtrack is a complex web of narratological, ethnographic, and semiological factors all related to the social tensions intimated by a film. This study examines four major periods in the zombie’s film career—the Voodoo zombie of the 1930s and 1940s, the invasion narratives of the late 1960s, the post-apocalyptic survivalist fantasies of the 1970s and 1980s, and the modern post-9/11 zombie—to track how certain musical sounds and styles are indexed with the content of zombie films. Two main musical threads link the individual films’ characterization of the zombie and the setting: Othering via different types of musical exoticism, and the use of sonic excess to pronounce sociophobic themes. COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS by Pedro Gonzalez-Fernandez Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2014 Advisory Committee: Professor Patrick Warfield, Chair Professor Richard King Professor John Lawrence Witzleben ©Copyright by Pedro Gonzalez-Fernandez 2014 Table of Contents TABLE OF CONTENTS II INTRODUCTION AND LITERATURE REVIEW 1 Introduction 1 Why Zombies? 2 Zombie Taxonomy 6 Literature Review 8 Film Music Scholarship 8 Horror Film Music Scholarship -
Sake, Sex and Gore: the Japanese Zombie Film and Cult Cinema
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Murphy, Kayleigh (2015) Sake, sex and gore: The Japanese zombie film and cult cinema. Asian Cinema, 26(2), pp. 193-203. This file was downloaded from: https://eprints.qut.edu.au/96101/ c Consult author(s) regarding copyright matters This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. https://doi.org/10.1386/ac.26.2.193_1 Sake, sex and gore: The Japanese zombie film and cult cinema Kayleigh Murphy, Queensland University of Technology Abstract Zombie film is a minor, yet growing, sub-genre within Japan’s contemporary horror genre. -
The Emergence and Development of the Sentient Zombie: Zombie
The Emergence and Development of the Sentient Zombie: Zombie Monstrosity in Postmodern and Posthuman Gothic Kelly Gardner Submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy Division of Literature and Languages University of Stirling 31st October 2015 1 Abstract “If you’ve never woken up from a car accident to discover that your wife is dead and you’re an animated rotting corpse, then you probably won’t understand.” (S. G. Browne, Breathers: A Zombie’s Lament) The zombie narrative has seen an increasing trend towards the emergence of a zombie sentience. The intention of this thesis is to examine the cultural framework that has informed the contemporary figure of the zombie, with specific attention directed towards the role of the thinking, conscious or sentient zombie. This examination will include an exploration of the zombie’s folkloric origin, prior to the naming of the figure in 1819, as well as the Haitian appropriation and reproduction of the figure as a representation of Haitian identity. The destructive nature of the zombie, this thesis argues, sees itself intrinsically linked to the notion of apocalypse; however, through a consideration of Frank Kermode’s A Sense of an Ending, the second chapter of this thesis will propose that the zombie need not represent an apocalypse that brings devastation upon humanity, but rather one that functions to alter perceptions of ‘humanity’ itself. The third chapter of this thesis explores the use of the term “braaaaiiinnss” as the epitomised zombie voice in the figure’s development as an effective threat within zombie-themed videogames. -
The Zombie in Popular Culture from "Night of the Living Dead" to "Shaun of the Dead"
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2010-03-17 Ghouls, Hell and Transcendence: The Zombie in Popular Culture from "Night of the Living Dead" to "Shaun of the Dead" Jasie Stokes Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Classics Commons, and the Comparative Literature Commons BYU ScholarsArchive Citation Stokes, Jasie, "Ghouls, Hell and Transcendence: The Zombie in Popular Culture from "Night of the Living Dead" to "Shaun of the Dead"" (2010). Theses and Dissertations. 2103. https://scholarsarchive.byu.edu/etd/2103 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Ghouls, Hell and Transcendence: the Zombie in Popular Culture from Night of the Living Dead to Shaun of the Dead Jasie Stokes A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Carl Sederholm Charlotte Stanford Kerry Soper Department of Humanities, Classics and Comparative Literature Brigham Young University April 2010 Copyright © 2010 Jasie Stokes All Rights Reserved ABSTRACT Ghouls, Hell and Transcendence: the Zombie in Popular Culture from Night of the Living Dead to Shaun of the Dead Jasie Stokes Department of Humanities, Classics and Comparative Literature Master of Arts Considering the amount of media created around the zombie and the sustained interest in its role in our society, we can clearly see that a cultural phenomenon is underway, and it is important for us to question this phenomenon in order to gain some understanding of how and why its appeal has stretched so far. -
Thematic Connections Between Western and Zombie Fiction
Hang 'Em High and Bury 'Em Deep: Thematic Connections between Western and Zombie Fiction MICHAEL NGUYEN Produced in Melissa Ringfield’s Spring 2012 ENC1102 Zombies first shambled onto the scene with the release of Night of the Living Dead, a low- budget Romero film about a group of people attempting to survive mysterious flesh-eating husks; from this archetypical work, Night ushered in an era of the zombie, which continues to expand into more mediums and works to this day. Romero's own Living Dead franchise saw a revival as recently as 2004, more than doubling its filmography by the release of 2009's Survival of the Dead. As a testament to the pervasiveness of the genre, Max Brooks' zombie preparedness satire The Zombie Survival Guide alone has spawned the graphic novel The Zombie Survival Guide: Recorded Attacks and the spinoff novel World War Z, the latter of which has led to a film adaptation. There have been numerous articles that capitalize on the popularity of zombies in order to use them as a nuanced metaphor; for example, the graduate thesis Zombies at Work: The Undead Face of Organizational Subjectivity used the post-colonial Haitian zombie mythos as the backdrop of its sociological analysis of the workplace. However, few, if any, have attempted to define the zombie-fiction genre in terms of its own conceptual prototype: the Western. While most would prefer to interpret zombie fiction from its horror/supernatural fiction roots, I believe that by viewing zombie fiction through the analytical lens of the Western, zombie works can be more holistically described, such that a series like The Walking Dead might not only be described as a “show about zombies,” but also as a show that is distinctly American dealing with distinctly American cultural artifacts. -
Media and Identity in Post-War American and Global Fictions of the Undead
"Born in Death": Media and Identity in Post-War American and Global Fictions of the Undead Jonathan Mark Wilkinson MA by Research University of York English January 2015 2 Abstract Existing scholarship has largely overlooked that the undead are, famously, ‘us’. They are beings born from our deaths. Accordingly, their existence complicates the limits and value of our own. In this dissertation, I therefore argue that fictions of the undead reflect on questions of identity, meditating on the ways in which identities are created, distorted or otherwise reformed by the media to which their most important texts draw insistent attention. Analysing landmark texts from Post-War American contexts, this dissertation expands its hypothesis through three case studies, reading the texts in each as their own exercise in ontological thought. In each case study, I show that fictions of the undead reflect on the interactions between media and identity. However, there is no repeating model through which the themes of media, identity and undeath are repeatedly engaged. Each text’s formulation of these interacting themes is distinct to the other’s, suggesting that the significance of the undead and their respective tradition is not in the resounding ontological ‘answers’ that they and their texts inspire, but the questions that their problematic existential state asks. 3 List of Contents Abstract ..................................................................................................................2 Author’s Declaration .................................................................................................4 -
From Voodoo to Viruses: the Evolution of the Zombie in Twentieth Century Popular Culture
From Voodoo to Viruses: The Evolution of the Zombie in Twentieth Century Popular Culture By Margaret Twohy Adviser: Dr. Bernice Murphy A thesis submitted in partial fulfilment of the Degree of Master’s of Philosophy in Popular Literature Trinity College Dublin Dublin, Ireland October 2008 2 Abstract The purpose of this thesis is to explore the evolutionary path the zombie has followed in 20th Century popular culture. Additionally, this thesis will examine the defining characteristics of the zombie as they have changed through its history. Over the course of the last century and edging into the 21st Century, the zombie has grown in popularity in film, videogames, and more recently in novels. The zombie genre has become a self-inspiring force in pop culture media today. Films inspired a number of videogames, which in turn, supplied the film industry with a resurgence of inspirations and ideas. Combined, these media have brought the zombie to a position of greater prominence in popular literature. Additionally, within the growing zombie culture today there is an over-arcing viral theme associated with the zombie. In many films, games, and novels there is a viral cause for a zombie outbreak. Meanwhile, the growing popularity of zombies and its widening reach throughout popular culture makes the genre somewhat viral-like as well. Filmmakers, authors and game designers are all gathering ideas from one another causing the some amount of self- cannibalisation within the genre. 3 Table of Contents Introduction 4 Chapter One 7 Evolution of the Dead Chapter Two 21 Contaminants, Viruses, and Possessions—Oh my! Chapter Three 34 Dawn of the (Digital) Dead Chapter Four 45 Rise of the Literary Zombie Conclusion 58 Bibliography 61 4 Introduction There are perhaps few, if any fictional monsters that can rival the versatility of the humble zombie (or zombi)1. -
"Those Things" and "You People" : Issues Of
d “THOSE THINGS” AND “YOU PEOPLE” Issues of Racism in Zombie Cinema Kyle Allkins Judith Halberstam claims that “it would be very difficult in a horror film to show and punish racism simultaneously,” but this essay contends that zombie films show racism through their representation of African American characters and the ways zombies function as racial “others” who exemplify the nonnormative and inhuman (Skin Shows 4). Zombie films also link the colonized racial “other” to the colonized white female in interesting ways. The extermination of zombies in cinema represents racism, racial profiling, racial violence, and racial selfhatred and links racism with sexism. At times, zombie cin ema may also punish the culturally normative “we or us” for seeking violence against the racialized or feminized “them.” Cinematic zombies evoke fear in part because zombies can be anyone. Spouse, sibling, coworker, friend, priest, cop, Mayor, President, girl next door—anyone in a zombie film can be altered and “turned” in no time at all. Those that haven’t been turned are slowly being outnumbered, becoming the mi nority, becoming nonnormative themselves. Audiences have eagerly consumed films about zombies since their first appear ance in White Zombie, a 1932 horror film starring Bela Legosi. 112 Subsequent zombie films such as Jacques Tourneur’s 1943 I Walked with A Zombie, George A. Romero’s 1968 cult classic Night of the Living Dead, and even Wes Craven’s 1988 The Serpent and the Rainbow, continued to shape the genre by adding unique elements. The website http://en.wikipedia.org/wiki/ List_of_zombie_films lists the dozens of zombie films made in America and abroad over the last eight decades and attests to the genre’s continuing popularity. -
Racial Images Using the Biohazard Metaphor in US Media Sinan Isik
Racial Images Using the Biohazard Metaphor in US Media Sinan Isik “This is Islamism, it is a vicious cancer inside the body of 1.7 billion people on this planet and it has to be excised.” – Mike Flynn, ret. Lieutenant General and former National Security Advisor to President Donald Trump (Kaczynski, 2016) “Islam is a disease; we need to vaccinate ourselves against that.” – Pauline Hanson, Australian Senator (Remeikis, 2017) Research Problem Of the literature on race in US politics, very little of it deals with the Middle-Eastern community. One obvious explanation is that the Census, and many other large US surveys, operationalize Middle-Easterners as part of (or a subcategory of) the “white” or “Caucasian” category. This could also be in part because it is a relatively small segment of the population compared to other more often-analyzed racial minorities. A third possible explanation is that the US did not start welcoming immigrants from that region in large numbers until after quotas were loosened following the Immigration and Nationality Act of 1965, so it is a relatively new immigrant community. Regardless of the reason, this lack of attention leaves lots of room for analysis from future scholarship. Much of the literature that does exist on the US Middle-Eastern community is limited to considering immigrant incorporation, or sometimes voter turnout. Furthermore, usually they are analyzed as American Muslims, rather than as Middle-Eastern Americans. While it is worthwhile to consider this religious identity component, it may lose any nuance of issues specifically related to racial identity. Especially in terms of understanding discrimination in the US, race is just as important a factor to analyze as religion, if not more so. -
Introduction
INTRODUCTION Having picked this book off the shelf, you’re probably asking yourself, “How could there be a neuroscience of zombies?” While yes, zombies do have brains (you have to destroy their brains in order “kill” them, or so the myth goes), we would be hard pressed to make a case that “zombie neuroscience” qualifies as its own field of study. Neuroscience— the study of the brain, particularly its relationship to behavior and cognition—already has its fair share of perhaps silly and fantastical “specialty” subfields; why add to the list? Well, did you know that we neuroscientists have the answer to every thing? Regular readers of the Opinion page of the New York Times or other popular media outlets will already know that neuroscience can explain why you are in love with your iPhone, why lying to your kids about Santa is a neurologically sound form of parenting, and why inducing a coma leads to proof of heaven. You see, by filtering all of human existence through our very muddy lens we can answer all of life’s questions. By our estimates, an fMRI study explaining the meaning of life should be coming out by sometime early 2015 (hint: it involves 42 brain regions). We hate to break it to our colleagues in the fields of philosophy, religion, and physics, but thanks to a few fancy brain imaging machines and a couple of decades of pretty hard think- ing about stuff, we neuroscientists now can understand every- thing, so they’ll probably need to seek employment elsewhere. If neuroscience is the panacea and explanation for everything else, why not the zombie apocalypse? There’s a market for that, right? Verstynen.indb 1 7/24/2014 8:15:00 AM 2 | Introduction Let’s return to the book you are holding in your hands. -
Genre Hybridization in Shaun of the Dead
Angles New Perspectives on the Anglophone World 1 | 2015 Brevity is the soul of wit Things Are Going to Change: Genre Hybridization in Shaun of the Dead Jean-François Baillon and Nicolas Labarre Electronic version URL: http://journals.openedition.org/angles/2150 DOI: 10.4000/angles.2150 ISSN: 2274-2042 Publisher Société des Anglicistes de l'Enseignement Supérieur Electronic reference Jean-François Baillon and Nicolas Labarre, « Things Are Going to Change: Genre Hybridization in Shaun of the Dead », Angles [Online], 1 | 2015, Online since 01 November 2015, connection on 02 September 2020. URL : http://journals.openedition.org/angles/2150 ; DOI : https://doi.org/10.4000/ angles.2150 This text was automatically generated on 2 September 2020. Angles. New Perspectives on the Anglophone World is licensed under a Creative Commons Attribution- NonCommercial-ShareAlike 4.0 International License. Things Are Going to Change: Genre Hybridization in Shaun of the Dead 1 Things Are Going to Change: Genre Hybridization in Shaun of the Dead Jean-François Baillon and Nicolas Labarre Page 1: ‘Things are going to change’: Genre hybridization in Shaun of the Dead Credits: Jean-François Baillon and Nicolas Labarre. Angles, 1 | 2015 Things Are Going to Change: Genre Hybridization in Shaun of the Dead 2 Page 2: ‘Things are going to change’: Genre hybridization in Shaun of the Dead Credits: Jean-François Baillon and Nicolas Labarre. Page 3: ‘Things are going to change’: Genre hybridization in Shaun of the Dead Credits: Jean-François Baillon and Nicolas Labarre. Angles, 1 | 2015 Things Are Going to Change: Genre Hybridization in Shaun of the Dead 3 Page 4: ‘Things are going to change’: Genre hybridization in Shaun of the Dead Credits: Jean-François Baillon and Nicolas Labarre.