10:11 Zombeys
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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 -
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. -
Film Reviews.6
Page 75 FILM REVIEWS Black Swan (Dir. Darren Aronofsky) U SA 2010 20th Century Fox International “Done to death, I know. But not like this.” When Vincent Cassel’s leery ballet school director, Thomas Leroy, introduces his cast to the new season’s programme featuring ‘Swan Lake’, he describes how he will reinvent the classic ballet by stripping it down and making it visceral. To do this, he needs a new lead dancer, a woman capable of embodying the characters of both the innocent white swan and the seductive black swan. Darren Aronofsky’s Black Swan takes us on a journey from rehearsal to the stage as a delicate young woman, Nina Sayers (Natalie Portman), prepares for the role and undergoes a tragic transformation. Aronofsky’s latest film doesn’t so much delve into the world of ballet as use it as a pretty setting for his psychological tale of artistic obsession. Nina’s life consists of dancing and not much else. She appears to have no interests outside ballet and lives at home with her mother (Barbara Hershey as a truly terrifying composite of stage mother and classic horror psycho mother), whose grip on her daughter is far tighter than Nina’s own grip on reality. Already unpopular with the other dancers, and with suspicion surrounding her sudden elevation to prima ballerina, the introduction of a new dancer to the company (Mila Kunis) quite literally throws Nina off balance and forces the viewer to reel with her for the rest of the film as she tries unsuccessfully to regain her footing. -
Taylor Doctoralthesis Complete
21st Century Zombies: New Media, Cinema, and Performance By Joanne Marie Taylor A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Peter Glazer, Chair Professor Brandi Wilkins Catanese Professor Kristen Whissel Fall 2011 21st Century Zombies: New Media, Cinema, and Performance © 2011 by Joanne Marie Taylor Abstract 21st Century Zombies: New Media, Cinema, and Performance by Joanne Marie Taylor Doctor of Philosophy in Performance Studies and a Designated Emphasis in Film Studies University of California, Berkeley Professor Peter Glazer, Chair This project began with a desire to define and articulate what I have termed cinematic performance, which itself emerged from an examination of how liveness, as a privileged performance studies concept, functions in the 21st century. Given the relative youth of the discipline, performance studies has remained steadfast in delimiting its objects as those that are live—shared air performance—and not bound by textuality; only recently has the discipline considered the mediated, but still solely within the circumscription of shared air performance. The cinema, as cultural object, permeates our lives—it is pervasive and ubiquitous—it sets the bar for quality acting, and shapes our expectations and ideologies. The cinema, and the cinematic text, is a complex performance whose individual components combine to produce a sum greater than the total of its parts. The cinema itself is a performance—not just the acting—participating in a cultural dialogue, continually reshaping and challenging notions of liveness, made more urgent with the ever-increasing use of digital technologies that seem to further segregate what is generally considered real performance from the final, constructed cinematic text. -
Romero Rétrospective 13 – 30 Décembre
GEORGE A. ROMERO RÉTROSPECTIVE 13 – 30 DÉCEMBRE Zombie - Dawn of the dead 28 TERREURS EXPÉRIMENTALES Révélé en 1968 par un film d’horreur à petit budget, La Nuit des morts-vivants, qui bouleversa les règles du genre, George A. Romero est l’auteur d’une œuvre très personnelle, essentielle dans l’histoire du cinéma américain moderne. Avec ses figures de zombies, déclinées dans plusieurs titres tout au long de sa carrière et devenues des silhouettes familières de la pop culture contem- poraine, il a énoncé une critique politique radicale de la société américaine, de son goût pour la violence et de son aliénation. GEORGE A. ROMERO Il a, on ne le sait désormais que trop, inventé l’une des grandes figures cinéma- tographiques de la terreur contemporaine, une figure qui aura depuis quarante ans innervé et contaminé la culture industrielle dans ses diverses manifestations (séries télévisées, jeux vidéo, romans populaires, etc.). Le zombie du cinéma de George A. Romero représente la négation de toute une vision romantique de l’inhumain et de la monstruosité qui a longtemps marqué le cinéma d’épou- vante. On le sait, tout a commencé en 1968 lorsqu’une poignée d’étudiants de Pittsburgh décide de s’attacher à la réalisation d’un petit film d’horreur en noir et blanc. La Nuit des morts-vivants jouira longtemps d’un statut ambigu. Le film bouscule, en tout cas, les conventions avec son postulat : pour une raison mystérieuse, les morts se remettent à marcher et deviennent des créatures PROGRAMMATION anthropophages quasi invulnérables, propageant la maladie qui les a ressuscités. -
Fangoria 345(2015)
IT'S ALIVE—AND IT'S ANGRY! CANADA U.S.& $11.99 Hus: JERUZALEM • Larry Fessenden • Fabio Frizzi • Clu Gulager www.fangoria.com Wrestling HoiTor • THE HALLOW • CONDEMNED • Much more! NOW IN THEATERS f- & ON DEMAND CONTRACTED itHORROR PHASE 2 IN THEATERS & [ NOW ON DEMAND I DEMANOffc’^ . I 11/20 LEARN BY DOING. sFACTORY Digital Filmmaking Program at Douglas DOUGLASEducation Center 1 30 Seventh Street • Monessen, PA 1 5062 Financial aid is available to those who qualify. For more information about graduation rates, median debt of students who completed the program, and consumer information, please visit www.dec.edu/df Housing is available through Boss Development, Inc. DEC.EDU 1.800.413.6013 THIS SCHOOL IS AUTHORIZED UNDER FEDERAL LAWTO ENROLL NONIMMIGRANT ALIEN STUDENTS. 1 6 PREVIEW: “KRAMPUS” The “anti-Claus” gets the major movie vehicle he’s long deserved, thanks to 54 ON SET: “THE HALLOW” Irish forest dwellers are director Michael Dougherty. no longer confined to legend in Corin Hardy’s mythological chiller. 20 PREVIEW: “JERUZALEM” Israeli filmmaking brothers Doron and Yoev Paz spread unholy evil 58 DN SET: “CHARLIE’S FARM” Do you dare join us across sacred ground. to trespass on the grounds of Chris Sun’s huge, savage psychopath? 22 ONSET: “CONDEMNED” 64 INTERVIEW: CLU GULAGER From “Return of the In Eli Morgan Living Dead” to “Feast,” something’s always been Gesner’s infection eating at the veteran actor. opus, catching the murderous rage 68 FEATURE: “MEXICD BARBARD” Director/producer doesn’t mean Lex Drtega et al. are seeing their ambitious anthology you lose your head north of the border. -
Canonical Monstrosity, the Romero Zombie, and the Political Subject
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Civilization of the Living Dead: Canonical Monstrosity, the Romero Zombie, and the Political Subject Nicholas Walter Robbins Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/468 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] CIVILIZATION OF THE LIVING DEAD: CANONICAL MONSTROSITY, THE ROMERO ZOMBIE, AND THE POLITICAL SUBJECT by NICHOLAS W. ROBBINS A dissertation submitted to the Graduate Faculty in Political Science in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ii © 2014 NICHOLAS W. ROBBINS All Right Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Political Science in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy Corey Robin _______________ ________________________________________ Date Chair of Examining Committee Alyson Cole _______________ ________________________________________ Date Excecutive Officer Corey Robin Alyson Cole Joe Rollins Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract CIVILIZATION OF THE LIVING DEAD: CANONICAL MONSTROSITY, THE ROMERO ZOMBIE, AND THE POLITICAL SUBJECT by Nicholas W. Robbins Advisor: Professor Corey Robin This dissertation analyzes the canonical monsters of Western political theory, including Plato’s wolf-man, Hobbes’s Leviathan and Tocqueville’s mechanical mass. It argues that monster theorists – including horror film director George A. -
Why Zombies Matter: the Undead As Critical Posthumanist
Why Zombies Matter: The Undead as Critical Posthumanist Dale Knickerbocker studies Key words: Zombie, posthuman, technological singularity, humanism, antihumanism. Klíčová slova: Zombie, posthumánní, technologická singularita, humanismus, antihumanismus. Abstract: This paper poses two questions: why have we brought back the living dead so many times in so many different forms, and what is the cultural significance of its most recent resuscitation? With respect to the latter query, I propose three ideas: first, that the zombie has become the biotechnological equivalent of the science-fictional cyborg, as they both express the same anxieties and thus fulfill a similar cultural function. Second, as humans converted into another species, they are posthuman, and their genocidal war on humanity is homologous to the science-fictional Termi- nators and apocalyptic cyborgs and artificial intelligences. In the same way, the heralded “zombie apocalypse” is a fictional historical evolutionary turning point homologous to John Von Neumann‘s and Vernor Vinge‘s “technological singularity.” Third, the change in rationalization of zombification from the supernatural to the scientific in the 1960s signified a reaction against instrumental reason, technoscience, modernity, and the values of Humanism. This is evident in recent iterations in which the zombie is the result of a plague cause by genetic experimentation. I conclude that this millennial zombie is the poster child for an antihumanist, critical posthumanism. Finally, in response to the first query, -
White Zombie, I Walked with a Zombie, Night of the Living Dead, Dawn of the Dead, Day of the Dead, Victor Halperin, Georges A
Resisting Bodies: Power Crisis / Meaning Crisis in the Zombie Film from 1932 to Today David Roche To cite this version: David Roche. Resisting Bodies: Power Crisis / Meaning Crisis in the Zombie Film from 1932 to Today. Textes & Contextes, Université de Bourgogne, Centre Interlangues TIL, 2011, Discours autoritaires et résistances aux XXe et XXIe siècles, https://preo.u- bourgogne.fr/textesetcontextes/index.php?id=327. halshs-00682096 HAL Id: halshs-00682096 https://halshs.archives-ouvertes.fr/halshs-00682096 Submitted on 23 Mar 2012 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Resisting Bodies: Power Crisis / Meaning Crisis in the Zombie Film from 1932 to Today David Roche Maître de conférences, Centre Interlangues Texte, Image, Langage (EA 4182), Université de Bourgogne, 2 boulevard Gabriel, 21000 Dijon, mudrock [at] neuf.fr Critics have repeatedly focused on the political subtexts of the living dead films of George A. Romero, revealing, notably, how they reflect specific social concerns. In order to determine what makes the zombie movie and the figure of the zombie so productive of political readings, this article examines, first, the classic zombie movies influenced by voodoo lore, then Romero’s initial living dead trilogy (1968-1985), and finally some of the most successful films released in the 2000s. -
Zombies: New Media, Cinema, and Performance
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title 21st Century Zombies: New Media, Cinema, and Performance Permalink https://escholarship.org/uc/item/9hq1z1t7 Author Taylor, Joanne Marie Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California 21st Century Zombies: New Media, Cinema, and Performance By Joanne Marie Taylor A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Peter Glazer, Chair Professor Brandi Wilkins Catanese Professor Kristen Whissel Fall 2011 21st Century Zombies: New Media, Cinema, and Performance © 2011 by Joanne Marie Taylor Abstract 21st Century Zombies: New Media, Cinema, and Performance by Joanne Marie Taylor Doctor of Philosophy in Performance Studies and a Designated Emphasis in Film Studies University of California, Berkeley Professor Peter Glazer, Chair This project began with a desire to define and articulate what I have termed cinematic performance, which itself emerged from an examination of how liveness, as a privileged performance studies concept, functions in the 21st century. Given the relative youth of the discipline, performance studies has remained steadfast in delimiting its objects as those that are live—shared air performance—and not bound by textuality; only recently has the discipline considered the mediated, but still solely within the circumscription of shared air performance. The cinema, as cultural object, permeates our lives—it is pervasive and ubiquitous—it sets the bar for quality acting, and shapes our expectations and ideologies. -
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You Cannot Kill WHAT IS ALREADY DEAD Curated by SUZANNE CARTE PARTICIPATING ARTISTS Atom Cianfarani Emily Gove Patrick Lundeen Nadia MosS Alex McLeoD Mario Schambon Maya Suess Lena Suksi Howie Tsui Juan ZamorA October 31, 2013 – January 25, 2014 Doris McCarthy Gallery University of Toronto Scarborough Mario Schambon, Cara Falsa, 2012/2013 BE ZOMBIE SUZANNE CARTE 5 WHAT DOES A ZOMBIE WANT? SARA MATTHEWS 11 THE ROAD TRIP Farrukh Rafiq 15 THE NORMAL ZOMBIE CHRISTIAN MARTIUS 16 QUEER APOCALYPSE NATALIE KOURI-TOWE 17 TALK THE ZOMBIE WALK INTERVIEW WITH THEA MUNSTER 21 LIST OF WORKS 41 BIOGRAPHIES 43 BE ZOMBIE BY SUZANNE CARTE Honestly, I can’t look at images of zombies. The tattered clothing, and letting out gurgled moans with glamour of gore has an uneasy power over me. outstretched arms and heavy feet. Zombie walks are Horror films make me retch and haunted houses get mobilized to gain attention. The masses march (or me running for the door. I am the perfect audience shuffle rather) to express their dissatisfaction with for all zombiephiles to scare. In the presence of the political ennui in times of economic upheaval, war ghastly, undead wanderers, I am terrified, sickened and environmental collapse. The undead are the and revolted. perfect empty vehicles to mirror numerous involve- ments, interests, and issues; therefore the collective Poring over artists’ gruesome zombiefied sketches zombie gathering has no defined agenda. Devoid of during studio visits would make me nauseated. Brook- any individualization, a walk can represent a number lyn-based artist Mario Schambon proclaimed that he of concerns and fears within one action. -
22 November 2005
INTERNATIONAL INSTITUTE OF MODERN LETTERS Te Putahi¯ Tuhi Auaha o te Ao Newsletter – 22 November 2005 This is the 78th in a series of occasional newsletters from the Victoria University centre of the International Institute of Modern Letters. For more information about any of the items, please email [email protected]. 1. Final countdown for investing in the future of New Zealand writing .......................1 2. The sporting challenge...............................................................................................2 3. Calling short fiction writers .......................................................................................2 4. 2006 Writer in Residence...........................................................................................2 5. Great hoaxes of our time (1) ......................................................................................2 6. From the whiteboard..................................................................................................3 7. Bronwyn Tate Memorial competition........................................................................3 8. Prism International Short Fiction contest ..................................................................3 9. Great hoaxes of our time (2) ......................................................................................3 10. The expanding screen ..............................................................................................4 11. Recent web reading..................................................................................................4