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Rhetoric of Death and Generic Addressing of Viewers in American Living Dead Films

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Rhetoric of Death and Generic Addressing of Viewers in American Living Dead Films TURUN YLIOPISTON JULKAISUJA ANNALES UNIVERSITATIS TURKUENSIS __________________________________________________________________ SARJA - SER. B OSA - TOM. 332 HUMANIORA RHETORIC OF DEATH AND GENERIC ADDRESSING OF VIEWERS IN AMERICAN LIVING DEAD FILMS by Outi Hakola TURUN YLIOPISTO UNIVERSITY OF TURKU TURKU 2011 School of History, Culture and Arts Studies Department of Media Studies University of Turku FIN-20014 Turku Finland Supervisors: Docent Veijo Hietala School of History, Culture and Arts Studies University of Turku, Finland Professor Seija Ridell School of Communication, Media and Theatre University of Tampere, Finland Reviewers: Professor Kendall Phillips College of Visual and Performing Arts Syracuse University, USA Professor Frans Mäyrä Department of Information Studies and Interactive Media University of Tampere, Finland Opponent: Professor Kendall Phillips College of Visual and Performing Arts Syracuse University USA ISBN 978-951-29-4600-6 (PRINT) ISBN 978-951-29-4601-3 (PDF) ISSN 0082-6987 UNIPRINT - Turku, Finland 2011 3 CONTENTS ACKNOWLEDGMENTS ............................................................................ 4 1 FRAMING RHETORIC OF DEATH......................................................... 7 1.1. Approaching Death in Living Dead Films .............................................. 9 1.2. Generic Addressing and Positioning of Viewer..................................... 38 2 EMBODYING DEATH ........................................................................... 59 2.1. Character Engagements as Encounters with Death ................................ 61 2.2. Recognizing Death: The Living Dead as Embodiments of Death .......... 68 2.3. Aligning with Characters: Changing Reactions to Death ....................... 91 2.4. Allegiance with Characters: Moral Affects of Death ........................... 109 3 NARRATING DEATH.......................................................................... 124 3.1. Cinematic Narration of Death ............................................................. 127 3.2. Restricted Images of Death in Classical Films .................................... 143 3.3. Revealing Images of Death in Transition Era...................................... 159 3.4. Excessive Death in Postclassical Films ............................................... 173 4 SYMBOLIZING DEATH ...................................................................... 189 4.1. Symbolic and Allegoric References in Living Dead Films .................. 193 4.2. Rituals of Death: Ancient Mummies in Modern World ....................... 201 4.3. Eroticized Death: Vampires and Sexuality .......................................... 217 4.4. Chaotic Death: Zombies and Breakdown of Social Structures ............. 238 5 TRANSFORMING TRADITIONS OF RHETORIC OF DEATH .......... 261 LITERATURE ......................................................................................... 279 4 ACKNOWLEDGMENTS Writing can sometimes be a lonely routine. Many days have passed in the solitary company of computers worn out during this project. I am therefore more than grateful for counterbalance and moments of interaction with people who have commented my work, supported my thinking processes or who have been there for me when I have felt like complaining or celebrating at different phases of my work. I owe many thanks to those of you who have shared these past six years of my life. First, I want to thank my academic home, Media Studies at the University of Turku. The very first courses of Cinema and Television Studies already made me feel that I had found my place in the academic world. The Media Studies people then became my colleagues and friends. I want to thank my supervisor, docent Veijo Hietala, who has seen my whole journey from the first film course to the finishing of my doctoral thesis. I am also truly grateful to Professor Seija Ridell, who took me under her wings when I felt lost in my writing. Even today I feel that without our shared theoretical discussions and without her sharp and to–the–point comments, I would still be entangled in the multitude of different available possibilities. Seija and Veijo, thank you for helping me to find structure to my work, for sticking with me all the way to the end, and for all the discussions we shared. I am also grateful to our Professor Jukka Sihvonen, who at the final stages of my work helped me with all the practical issues of the examination. Furthermore, during the years I have learned to appreciate his way of thinking, theoretical approaches to the media, and inspiring ideas concerning my research. Similarly, our research seminar, which I have now attended for six years, has been a place of intellectual challenge and interaction, friendship and shared projects. I want to thank all postgraduate students and teaching staff for sharing your work with me and commenting my writings. In particular, I wish to thank Ilona Hongisto, Tommi Römpötti, Tero Karppi, Tanja Sihvonen, Mari Pajala, Jukka-Pekka Puro, Katariina Kyrölä, Pasi Väliaho and Sanna Härmä. Several people helped to put finishing touches to this work. I want to thank Professor Kendall Phillips, who acted as my pre-examiner and as my opponent. His comments improved the manuscript, and I’m grateful that he found time to help me and fly to Finland to discuss my work. I also want to thank my pre-examiner Frans Mäyrä, whose ideas helped me to see the possibilities in my work. 5 Furthermore, I am grateful to Professor Pirjo Ahokas, representative of the Faculty of Arts, for participating in the evaluation of my doctoral thesis. Pirjo has also had a huge role in shaping my academic identity. She supervised my literature studies, we have organized conferences together, and shared memorable moments in the meetings of the Finnish Graduate School for North and Latin American Studies. I am grateful for her support and friendship over the years and I hope that our paths keep crossing in the future. Many thanks are due to my proofreader and colleague Pirkko Hautamäki for making me sound smarter than I actually am and for the feline images and stories which have lightened up my writing days. Besides Media Studies, I have been fortunate to have several academic networks to support me. The Finnish Graduate School for North and Latin American Studies is one of these. In our seminars, my writings were discussed from so many angles that I started to see my work as more of a multidisciplinary project than in the beginning. We shared hard work, but also great moments and lots of laughter. I am grateful for your companionship. Thank you all, especially Markku Henriksson, Daniel Blackie, Elina Valovirta, Rani-Henrik Andersson, Sami Lakomäki, Sarri Vuorisalo-Tiitinen, Hanna Laako, Janne Immonen, Markus Kröger, Pekka Kilpeläinen, Katri Sieberg, Elina Vuola, Mikko Saikku, and Phillips Brooks. The seminars of the Graduate School for Gender Studies made me more sensitive to issues of gender in my work, and I want to thank you for delightful years of co- operation. I want to thank Professor Kirsi Saarikangas in particular for her support. Besides graduate schools I have had a pleasure to participate in different academic networks. I wish to thank everyone for collaboration in the Finnish Society for Cinema Studies, the Wider Screen magazine and Filmiverkko, the Lähikuva Journal and the International Institute for Popular Culture. I would also like to thank the following organizations for funding my work: Kordelin Foundation, Turun yliopistosäätiö and Turun Suomalainen Yliopistoseura. During the past years I have funded my research by working as well. At times the combination of a day job and research has been overwhelming, but I still would not choose differently. I have gained not only valuable experience, but have made great friends and colleagues. During the course of this dissertation I have worked for Molecular Plant Biology at the University of Turku, the Finnish Literature Society, the Renvall Institute for Area and Cultural Studies, the Christina Institute for Gender Studies 6 and the Department of World Cultures at the University of Helsinki. I would like to thank Tuomas Lehtonen in particular from the Finnish Literature Society, and Annukka Jamisto, Outi Pajala, Leena-Maija Rossi, Aino-Maija Hiltunen, Maija Urponen, Anna Moring, Eva Maria Korsisaari, and Venla Oikkonen from the former Christina Institute. The former Renvall Institute, now part of the Department of World Cultures, has served as my second home over many phases of my life. I want to thank all Renvallians for our times together and for the multidisciplinary atmosphere. Now that I work elsewhere again, I miss the morning coffee and lunch breaks that made my days, and I want to give my special thanks to those people who made me smile on my way to work: Jani Penttilä, Lars-Folke Landgrén, Saara Rautanen-Uunila, Tiina Airaksinen, Varpu Myllyniemi, Maria Colliander, Peter Stadius, and Marjaana Hakala. Finally, my dissertation would not have been possible without the support of my friends and family. Although I have often been working long hours, you have always stood by my side and supported me. Sometimes you seemed to believe in me more than I did and I want to thank you for that. I want to thank Susanne Uusitalo and Minna Valjakka for spending hours and hours talking about different aspects of postgraduate work and life; and I wish to thank Maija-Liisa Nyman for being there for me and always finding the right words of encouragement. A big thank you goes to my family. My parents,
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