Romero's Zombies

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Steen Christiansen

A (brief) history of zombie movies and cultural analysis of Romer's critical Dead series.

Formation

George Romero’s Zombies ,[object Object]

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Romero’s Dead series ,[object Object],[object Object],[object Object],[object Object],[object Object]

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Night of the Living Dead ,[object Object],[object Object]

Dawn of the Dead ,[object Object],[object Object],[object Object]

Day of the Dead ,[object Object],[object Object]

Land of the Dead ,[object Object],[object Object],[object Object]

Diary of the Dead ,[object Object],[object Object]

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A Zombie Manifesto: The Nonhuman Condition in the Era of Advanced Capitalism Sarah Juliet Lauro and Karen Embry The zombie has been one of the most prevalent monsters in films of the second half of the twentieth century, and as many have noted, it has experienced a further resurgence (or should we say, resurrection) in British and American film in the last five years.� Zombies are found everywhere, from video games and comic books� to the science textbook. The zombie We wish to thank the following persons for their invaluable input and support: Marc Blan- chard, Colin Milburn, Caleb Smith, Michael Ziser, Joshua Clover, Tiffany Gilmore, Maura Grady, Courtney Hopf, Shannon Riley, and Jack Martin. 1. Films such as Shaun of the Dead, directed by Edgar Wright (Big Talk Productions, 2004); 28 Days Later, directed by Danny Boyle (British Film Council, 2002); Dawn of the Dead, 2004 Remake, directed by Zack Snyder (Strike Entertainment, 2004); Land of the Dead, directed by George A. Romero (Atmosphere Entertainment, 2005); and the Resi- dent Evil series, directed by Paul W. S. Anderson (Constantin Film Produktion GmbH, 2002) and Alexander Witt (Constantin, 2004). See Peter Dendle’s book The Zombie Movie Encyclopedia (Jefferson, N.C.: McFarland, 2001); Jay Slater’s Eaten Alive! Italian Cannibal and Zombie Movies (London: Plexus, 2002); and Stephen Thrower’s Beyond Terror: The Films of Lucio Fulci (Guildford, UK: FAB Press, 1999). 2. For example, Bogus Dead, Zombie Commandos from Hell, Carnopolis, Containment, boundary 2 35:1 (2008) DOI 10.1215/01903659-2007-027 © 2008 by Duke University Press 86 boundary 2 / Spring 2008 has become a scientific concept by which we define cognitive processes and states of being, subverted animation, and dormant consciousness. In neuroscience, there are “zombie agents”;� in computer science there are “zombie functions.”� We even find “zombie dogs,” “zombie corporations,” and “zombie raves” in the news.� The ubiquity of the metaphor suggests the zombie’s continued cultural currency, and we will investigate why this specter has captured the American imagination for over a century. We want to take a deeper look at the zombie in order to suggest its usefulness as an ontic/hauntic� object that speaks to some of the most puzzling elements of our sociohistorical moment, wherein many are trying to ascertain what lies in store for humanity after global capitalism—if anything. Our fundamental assertion is that there is an irreconcilable tension and Biohazard. See All Things Zombie, http://www.allthingszombie.com/comics_reviews .php. 3. “Longtime collaborators Christof Koch and Francis Crick (of DNA helix fame) think that ‘zombie agents’—that is, routine behaviors that we perform constantly without even thinking—are so much a central facet of human consciousness that they deserve serious scientific attention” (“Zombie Behaviors Are Part of Everyday Life, According to Neurobi- ologists,” Febr.

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The Nature of Surrealism and “True Reality” in Quentin Tarantino’s Films In one of the most penetrating scenes of Reservoir Dogs (1992), Mr. Blonde, played by Michael Madsen, turns on his favorite radio station and begins dancing around a warehouse room to the song Stuck in the Middle with You. With a clean suit on and a knife in hand, he approaches Marvin, a cop who has been bound and gagged, with a face already bloodied from a previous beating. The camera pans left to an empty doorway, and the sound of rustling can be heard between the song and the sound of Marvin’s muffled screams. Suddenly, Mr. Blonde enters the frame holding a bloody dismembered ear and a bloody knife. He holds the ear up to his mouth and jokingly says something into it. He laughs, and Marvin screams; he dances around, and Marvin writhes in pain. The juxtaposition of Mr. Blonde’s psychopathic cheerfulness and Marvin’s severe agony is a classic example of surrealism, which is a form of artistic expression in which the workings of the subconscious mind are privileged, and the emphasis is on a blending of fantasy and reality. Surrealism juxtaposes images and situations that are somewhere in between a sort of dream-like, subconscious state and reality. Surrealism – especially the kind we see in Quentin Tarantino’s films -- also reflects a postmodernist perspective on reality and the subconscious. Reservoir Dogs and Pulp Fiction (1994) are perhaps the most revealing films of Tarantino’s filmmaking style and postmodern philosophy. The outlandish and bizarre storylines, the witty dialogue, and the cartoonish aspects of his characters create a surreal effect. The intertwining of a fantasttic and cerebral experience with a hyperbolic visceral experience introduces us to a dreamlike, subconscious realm. A good example of this surrealism is the use of wardrobe homogeneity in both films. In Reservoir Dogs, the heist team members wear matching uniforms (black suits with white buttoned-up shirts and black ties); they are each stripped of their “Christian” names and given color-coded names, and they are forbidden to speak about their personal lives or to associate with one another in any way beyond the heist. In Pulp Fiction, there is a similar use of homogeneity amongst the gangsters, as they also wear matching black suit uniforms. This particular use of uniforms and sameness strips each character of his individuality, and, in effect, they merge together to become a separate entity in itself. There is no longer a sense of “real” people, rather a sense of separate surreal forces. In one scene of Reservoir Dogs, for example, Mr. Pink (played by Steve Buscemi) and Mr. White (Harvey Keitel) talk about the robbery that went sour. When Mr. Pink asks Mr. White if he has killed anyone, Mr. White responds, “A few cops,” to which Mr. Pink responds with the question, “No real people?” The dialogue illustrates that not only have the heist members ...

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e u r o p e a n j o u r n a l o f Article Corresponding author: Jon Stratton, School of Media, Culture and Creative Arts, Curtin University, GPO Box U1987, Perth 6845, Western Australia, Australia. Email: [email protected] European Journal of Cultural Studies 14(3) 265–281 © The Author(s) 2011 Reprints and permissions: sagepub. co.uk/journalsPermissions.nav DOI: 10.1177/1367549411400103 ecs.sagepub.com Zombie trouble: Zombie texts, bare life and displaced people Jon Stratton Curtin University, Australia Abstract There has been a recent upsurge in texts featuring zombies. At the same time, members of western countries have become increasingly anxious about displaced peoples: asylum-seekers and other so-called illegal migrants who attempt to enter those countries. What displaced people, people without the protection of the state and zombies have in common is that both manifest the quality of what Giorgio Agamben calls ‘bare life’. Moreover, zombies have the qualities of workers or slaves driven to total exhaustion. The genre of the zombie apocalypse centres on laying siege to a place that is identified as a refuge for a group of humans. In these texts it is possible to read an equation of zombies with displaced people who are ‘threatening’ the state. Indeed, the rhetoric used to describe these people constructs them as similar to mythical zombies. This article includes analyses of a number of zombie films including Shaun of the Dead, Fido and Undead. Keywords asylum seekers, bare life, displaced people, Fido, Shaun of the Dead, zombies Introduction This article is about the relationship between zombies and displaced people, most obvi- ously refugees, asylum-seekers and illegal immigrants. It is founded on a realization that the underlying characteristics of zombies are similar to those attributed to displaced people: that is, people predominantly from non-western states striving for entry into western states. The article begins from the recognition that during the 2000s there has been a tre- mendous increase in the number of films released featuring zombies. At the same time, at CALIFORNIA ST UNIV NORTHRIDGE on March 1, 2015ecs.sagepub.comDownloaded from http://ecs.sagepub.com/ 266 European Journal of Cultural Studies 14(3) zombies have begun to appear in other media. A videogame series called Resident Evil, which includes biologically mutated flesh-eating undead, founded a genre now called ‘survival horror’. Released originally for Sony PlayStation in 1996, by 30 September 2004 the various forms of the game had sold more than 25 million units (CAPCOM, 2004), and in 2002 it spawned a film also called Resident Evil. The film became the four- teenth highest grossing ‘R’ rated film in the USA that year and the fiftieth highest grossing film globally (Box Office Mojo, 2002). There are now two sequels. In 2009, Quirk Books released Pride and Prejudice and Zombies, a ‘mash-up’ in which author Seth Grahame- S ...

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Romero's Zombies

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