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I Walked with a Zombie: Colonialism and Intertextuality*

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23 23 I Walked with a Zombie: Colonialism and Intertextuality* Teresa de Lauretis Recibido: 09.02.2021 — Aceptado: 02.03.2021 Título / Titre / Titolo able sur le langage cinématographique. En recadrant le roman classique victorien Jane Eyre dans un cadre caribéen, le film met en évidence les failles de l’entre- I Walked with a Zombie: Colonialismo e intertextualidad prise coloniale européenne bien avant l’avènement des études postcoloniales. Le I Walked with a Zombie: Colonialisme et intertextualité roman en partie autobiographique de Jean Rhys, Wide Sargasso Sea (1966), réécrit I Walked with a Zombie: Colonialismo e intertestualità Jane Eyre dans une perspective féministe et postcoloniale. Dans le roman El beso de la mujer araña de Manuel Puig, le cinéma et les films, dontI Walked with a Zombie, Abstract / Resumen / Résumé / Riassunto sont les moyens intertextuels de la création du personnage littéraire et de la figure d’un amour qui n’a pas de nom. This article is about some uses of intertextuality between cinema and lit- erature. I Walked with a Zombie (1943) is the second of nine films produced by Val Lewton that shaped the horror genre and had a lasting influence Questo articolo tratta di alcuni usi dell’intertestualità tra cinema e letteratura. I on the language of cinema. Reframing the classic Victorian novel Jane Eyre Walked with a Zombie (1943) è il secondo dei nove film prodotti da Val Lewton in a Caribbean setting, the film outlines the fault-lines of the European che hanno dato forma al genere horror e hanno avuto un’influenza duratura colonial enterprise long before the advent of postcolonial studies. Jean sul linguaggio cinematografico. Riformulando il classico romanzo vittoriano Rhys’s partly autobiographical novel Wide Sargasso Sea (1966) rewrites Jane Jane Eyre in un’ambientazione caraibica, il film delinea i limiti dell’impresa col- Eyre in a feminist and postcolonial perspective. In Manuel Puig’s novel Kiss oniale europea molto prima dell’avvento degli studi postcoloniali. Il romanzo of the Spider Woman, cinema and films, includingI Walked with a Zombie, are parzialmente autobiografico di Jean Rhys Wide Sargasso Sea (1966) riscrive Jane the intertextual means to the creation of literary character and the figure Eyre in una prospettiva femminista e postcoloniale. Nel romanzo El beso de of a love that has no name. la mujer araña di Manuel Puig, il cinema e i film, tra cui I Walked with a Zombie, sono il mezzo intertestuale per la creazione del personaggio letterario e la fig- ura di un amore che non ha nome. Este artículo trata de algunos usos de la intertextualidad entre el cine y la literatura. I Walked with a Zombie (1943) es la segunda de las nueve películas producidas por Val Lewton que dieron forma al género de ter- Key words / Palabras clave / Mots-clé / ror y tuvieron una influencia duradera en el lenguaje cinematográfico. La Parole chiave película, que replantea la clásica novela victoriana Jane Eyre en un escenario caribeño, esboza las fallas de la empresa colonial europea mucho antes Wal Lewton, Jacques Tourneur, Jean Rhys, Wide Sargasso Sea, I Walked with de la llegada de los estudios postcoloniales. La novela parcialmente auto- a Zombie, Manuel Puig, The Kiss of the Spider Woman. biográfica de Jean Rhys,Ancho mar de los Sargazos (1966), reescribe Jane Eyre desde una perspectiva feminista y poscolonial. En la novela de Manuel Puig El beso de la mujer araña, el cine y las películas, incluida I Walked with a Wal Lewton, Jacques Tourneur, Jean Rhys, Ancho mar de los Sargazos, I Zombie, son el medio intertextual para la creación del personaje literario y Walked with a Zombie, Manuel Puig, El beso de la mujer araña. la figura de un amor que no tiene nombre. Wal Lewton, Jacques Tourneur, Jean Rhys, Wide Sargasso Sea, I Walked with a Zombie, Manuel Puig, El beso de la mujer araña. Cet article traite de certaines utilisations de l’intertextualité entre le cinéma et la littérature. I Walked with a Zombie (1943) est le deuxième des neuf films produits par Val Lewton qui ont façonné le genre de l’horreur et exercé une influence dur- Wal Lewton, Jacques Tourneur, Jean Rhys, Wide Sargasso Sea, I Walked with a Zombie, Manuel Puig, El beso de la mujer araña. ISSN: 2174-8454 – Vol. 21 (primavera 2021), págs. 23-35, DOI: 10.72033/eutopias.21.21262 24 PERSPECTIVAS: Teresa de Lauretis It is well known to students of literature that Jean Seventh Victim, Ghost Ship, and so on. That he did suc- Rhys’s experimental novel Wide Sargasso Sea (1966) ceed in producing nine serious, intriguing, beautiful, and rewrites Charlotte Brontë’s Victorian classic Jane Eyre financially successful films in spite of those titles, in less (1947) in a feminist and postcolonial perspective, re- than 10 years and at a very low cost, was an accomplish- telling the story from the point of view of Rochester’s ment for which his name is highlighted in film history, first wife, a mad woman imprisoned in his castle. What despite his early death at age 46. He gathered together a is less known, even to students of cinema, is that a group of promising actors and technical people to form rather obscure B-movie, made in Hollywood in 1943, a collaborative filmmaking team in which the actors reframes the Jane Eyre story as a horror film set in the played roles in several of the films and the editor of one colonial Caribbean. film could be the director of another.3 Cinema, unlike writing, is a collective art: no single The Lewton Horror Unit, as the team was known at individual is ever solely responsible for the outcome of RKO, was enthusiastically dedicated to innovation and a filmmaking product, although the director is typical- experimentation, especially in the area of sound. They ly credited with its success. The technical apparatus is devised the first directional microphones (earlier only essential to cinema as art, communication or entertain- one microphone covered an entire scene) and improved ment because it is the means by which the language of noise-reduction systems, which allowed for the spatial- cinema, its medium of expression, is elaborated over ization of voices and sound effects, so that the voices time; on that language is based the form of expression of people who appear in the forefront of the screen of each single film. I Walked with a Zombie is the second are heard by the audience as if they were close, while of nine films that shaped the horror genre and had a background sounds, diegetically coming from far away, lasting influence on the language of cinema by virtue are heard as more distant.4 Another innovation was of their technical innovations in the areas of sound and dubbing, or re-recording dialogue in post-production, lighting.1 Their singularity is owed in part to the cir- which was famously used in Italian cinema but only lat- cumstances of their making, as well as to the talent and er became standard practice in Hollywood. vision of their producer, Val Lewton.2 Their sonic experimentation was favored by the hor- Contracted by Selznick to produce a series of B-mov- ror genre, which relies on sound for its effects, and in fact ies (low-budget films produced quickly, with relatively had begun to develop with the first wave of horror mov- unknown actors, intended for large audiences and high ies, or monster movies (e.g., Frankenstein, Dracula, King box-office results), Lewton had to create stories suitable Kong) in the first years of sound cinema (1930-1936). But to the titles assigned by the Studio, which clearly placed the Lewton horror films are significantly different from the films within the popular horror genre; titles such as 3 To direct I Walked with a Zombie and Cat People, perhaps the two best known of Cat People, I Walked with a Zombie, The Body-Snatcher, The the nine films, as well asThe Leopard Man, Lewton hired Jacques Tourneur, assigning the cinematography of Cat People to Nicholas Musuraca; he hired Robert Wise, who 1 I Walked with a Zombie (1943), produced by Val Lewton, directed by Jacques Tour- had been senior editor of Welles’s Citizen Kane and The Magnificent Ambersons, to neur, cinematography by J. Roy Hunt, music by Roy Webb, editing by Mark Robson, direct The Curse of the Cat People and The Body Snatcher; Mark Robson, who had been screenplay by Ardel Wray from an original story by Inez Wallace. assistant editor to Wise in The Magnificent Ambersons, was the editor of Cat People and 2 Like many working in Hollywood, Val Lewton was an immigrant. Born in Yalta I Walked with a Zombie (1942), and then directed four of the Lewton films, The 7th as Vladimir Ivanovich Leventon (1904-1951), of a recently converted Jewish fa- Victim (1943), Ghost Ship (1943), Isle of the Dead (1945), and Bedlam (1946); Simone mily, he emigrated to New York as a child of 5 with his mother, Nina Leventon. Simon, the lead actor in Cat People, played a very different role in the «sequel» The Her sister, Alla Nazimova, was a famous Broadway actress later to become a film Curse of the Cat People (1944); Tom Conway, who played the Rochester character in actress and producer in Hollywood; to film spectators, Nazimova is best known for I Walked with a Zombie also played the character of the psychiatrist in Cat People and her silent film Salome (1923), based on the play by Oscar Wilde. Lewton grew up, in The 7th Victim. attended college and began his writing career in New York, changing his name to fit 4 Two examples from I Walked with a Zombie: when the nurse Betsy and Wesley are his profession.
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