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The Post- 9/11 Aesthetic: Repositioning the Zombie Film in the Horror Genre Alan Edward Green, Jr

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The Post- 9/11 Aesthetic: Repositioning the Zombie Film in the Horror Genre Alan Edward Green, Jr University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School January 2013 the post- 9/11 aesthetic: repositioning the zombie film in the horror genre Alan Edward Green, Jr. University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Film and Media Studies Commons Scholar Commons Citation Green, Jr., Alan Edward, "the post- 9/11 aesthetic: repositioning the zombie film in the horror genre" (2013). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/4798 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. The Post-9/11 Aesthetic: Repositioning the Zombie Film in the Horror Genre by Alan Edward Green, Jr. A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English College of Arts and Sciences University of South Florida Major Professor: Phillip Sipiora, Ph.D. Victor Peppard, Ph.D. Elizabeth Metzger, Ph.D. Amy Rust, Ph.D. Date of Approval: May 1, 2013 Keywords: Film Studies, Post-9/11 Cinema, Zombie Films, Non-Zombie Cinema Copyright © 2013, Alan Edward Green, Jr. Dedication I dedicate this scholarly enterprise to my daughter, Tousey Green; I love you always and forever. To my parents, Tom and Judy Trowbridge, all my love; your belief in me was immeasurable in seeing me through completion of this project. I would like to thank all of my family, friends (insert your name here), mentors, colleagues, and students during this writing process, all of whom have influenced me in ways large and small. To my grandmother Dr. Virginia Litres, who gave me a copy of her dissertation before she passed away; this simple gesture of handing over the metaphorical baton pushed me to continue even when I did not want to anymore. While perched on a bookshelf, it served as a continual (and plaguing) reminder of the endgame. To my committee members, a hearty thank-you for all your time and efforts in advising along the way and helping me reach the finish line. And finally to Dr. Sipiora: I could not have asked for a better mentor and dissertation director. Table of Contents Abstract ...................................................................................................................................................... ii Chapter 1: Introduction ........................................................................................................................ 1 Chapter 1 Notes .......................................................................................................................12 Chapter 2: 28 Days Later and 28 Weeks Later: Resurrection of the Zombie in the Post-9/11 World ....................................................................................................................21 Chapter 2 Notes .......................................................................................................................44 Chapter 3: Recrudescence: George A. Romero Reclaims His Throne with Land of the Dead and Diary of the Dead ............................................................................................... 55 Chapter 3 Notes .......................................................................................................................76 Chapter 4: Simulacra: Non-Zombie Cinema Appropriates the Zombie Narrative ...........................................................................................................................................91 Chapter 4 Notes .................................................................................................................... 109 Chapter 5: Non-Zombie Cinema Part 2/Conclusion ............................................................. 120 Chapter 5 Notes .................................................................................................................... 138 Works Cited .......................................................................................................................................... 144 Filmography .......................................................................................................................... 144 Literature ................................................................................................................................ 154 Works Consulted ................................................................................................................................ 164 Filmography .......................................................................................................................... 164 Literature ................................................................................................................................ 167 About the Author .................................................................................................................... End Page i Abstract This dissertation explores a body of films produced after the events of 9/11, and while examining this specific point of departure, the author presents the argument on the vast cultural relevancy of the omnipresent zombie. These films are interrogative and complex, offering the viewing audience a rich tapestry of interwoven meanings. Furthermore, the author suggests that the zombie trope has, in fact, left the genre altogether, reinserted into a style of films he labels as “non- zombie appropriation.” Chapter 1 introduces the zombie genre as both part of the larger horror genre aesthetic and as its’ own legitimate subgenre. The zombie has a rich cinematic history, going back more than seven decades; heretofore, the last decade continues to see an unabated release of the viewing world’s favorite creature. Chapter 2 examines 28 Days Later and the sequel 28 Weeks Later as critical films functioning as works that refocus the zombie for the twenty-first century. As no serious discussion of filmic zombies can occur without the immeasurable significance of George A. Romero, chapter 3 concentrates on the auteur reclaiming a genre he helped to invent with his films Land of the Dead and Diary of the Dead. These two works show a direct that refuses to rest on his laurels by encoding these films with rich post 9/11 concerns. In chapter 4, the examination of the disparate films Equilibrium and The Happening discuss the utilization of non-zombie appropriations, films with no ii discernible zombies, but for all intents and purpose, imitate that specific narrative. By way of conclusion, chapter 5 continues the non-zombie trope with the abstract (and indeed postmodern) They Came Back. The chapter ends with a broadening of the context and with other concerns for the argument. This dissertation should be of interest to both horror scholarship in general and zombie films in particular. It aims to provide a sophisticated reading a significant body of works and add to the ongoing and critical legitimization to this important style of cinematic artistry. iii Chapter 1: Introduction “Like the archaic man the zombie’s universe is a mysterious and uncivilized one bordering ours, with its own unique codes of discipline that are impossible to comprehend with human logic.” —James F. Iaccino, Psychological Reflections of Cinematic Terror “The horror of the zombie movie comes from recognizing the human in the monster; the terror of the zombie movie comes from knowing there is nothing to do about it but destroy what is left.” —Kyle Bishop, Raising the Dead Zombies1 are everywhere! At present, they are the shambling hordes, still moving with deliberate slowness or (more times than not) in the hyper-accelerated pace2 of the post-9/11 world. Their cultural currency3 has no equal in terms of the monsters that haunt people’s nightmares, or, as Jake Horsley succinctly writes, “The horror film’s most basic function is to threaten us. Consequently, it can and must with more disturbing, subversive, dangerous (and hence repressed) ideas in our culture, or our society” (221). Echoing Horsley, Paul Wells espouses in the Horror Genre that A major theme of the horror genre is therefore the expression of the ways in which individuals try to maintain control of their lives in the face of profound disruptions which only comment on the frailties and brutalities of the status quo and its habitual norms. 1 Fundamentally, then, horror texts engage with the collapse of social/socialized formations. These range from the personal to the familial, the communal, the national, and the global. (9–10) There are almost as many classifications for horror as there are horror films to watch. In order to suture a working definition to this dissertation, Horsley and Wells offer declarations on the principle role of this genre in relation to the movie-going public. Certainly, at this juncture, the kairotic moment4 relates to the climate of extreme pressure for the United States and the global community, metamorphosed through the moving image and articulated unremittingly by the tropes contained in recent horror of the last decade. All the same, inside the horror genre, it is not the slasher film, ghost story/ haunted house, demonic possession, or participatory/sadomasochistic narrative that “threatens” viewing audiences at the local Cineplex and on the small screen. By their sheer tenacity and relentlessness,
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