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Romero's Zombies

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Published on February 10, 2009

Author: dissemination

Source: slideshare.net

Description

A (brief) history of zombie movies and cultural analysis of Romer's critical Dead series.
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George Romero’s Zombies Zombies, Culture and Critique

Zombies, Culture and Critique

 

 

Monsters and Culture Monstrosity is historically conditioned, not psychologically universal

Monstrosity is historically conditioned, not psychologically universal

Monsters and Culture “The monster functions as a monster when it is able to condense as many fear-producing traits into one body” (Judith Halberstam, Skin Shows 21)

“The monster functions as a monster when it is able to condense as many fear-producing traits into one body” (Judith Halberstam, Skin Shows 21)

Monsters and Culture “ Monsters are meaning machines” (Judith Halberstam, Skin Shows 21)

“ Monsters are meaning machines” (Judith Halberstam, Skin Shows 21)

Monsters and Culture “ The monster always represents the disruption of categories, the destruction of boundaries, and the presence of impurities and so we need monsters...” (Judith Halberstam, Skin Shows 27)

“ The monster always represents the disruption of categories, the destruction of boundaries, and the presence of impurities and so we need monsters...” (Judith Halberstam, Skin Shows 27)

Monsters and Culture Horror mediates between culture and ideology through an indirect mode of representation that formulates the tensions between social order and desire (Russell, 237)

Horror mediates between culture and ideology through an indirect mode of representation that formulates the tensions between social order and desire (Russell, 237)

Monsters and Culture The monster as social Other (Robin Wood)

The monster as social Other (Robin Wood)

Monsters and Culture "in a world homogenised by the commodity-form, and by money and information as universal equivalents, ‘the Other no longer has a place of refuge’." (Shaviro, 284)

"in a world homogenised by the commodity-form, and by money and information as universal equivalents, ‘the Other no longer has a place of refuge’." (Shaviro, 284)

Monsters and Culture Reactionary horror films figure the monster as social disorder/unwanted desire and reaffirms social order by eliminating the monster.

Reactionary horror films figure the monster as social disorder/unwanted desire and reaffirms social order by eliminating the monster.

Monsters and Culture Subversive horror films point to the breakdown and failure of social order’s repression for which the monster acts as a medium.

Subversive horror films point to the breakdown and failure of social order’s repression for which the monster acts as a medium.

Monstrology Fusion monsters, e.g. a zombie which is fusion of both living and dead

Fusion monsters, e.g. a zombie which is fusion of both living and dead

Monstrology Fission monsters, e.g. a werewolf, which fusion of human and wolf, but separated by time: a wolf by full moon only

Fission monsters, e.g. a werewolf, which fusion of human and wolf, but separated by time: a wolf by full moon only

Monstrology Magnification monsters: large and many, e.g. giant ants

Magnification monsters: large and many, e.g. giant ants

A History of Zombies Zombies were first drawn from Haitian culture and voodoo. I Walked With A Zombie (1943) The Plague of the Zombies (1966)

Zombies were first drawn from Haitian culture and voodoo.

I Walked With A Zombie (1943)

The Plague of the Zombies (1966)

Romero’s Dead series Romero revolutionized the zombie genre by making them American and immanent to American culture. Zombies are no longer exotic others, they are us. Night of the Living Dead (1968) Dawn of the Dead (1978) Day of the Dead (1985)

Romero revolutionized the zombie genre by making them American and immanent to American culture.

Zombies are no longer exotic others, they are us.

Night of the Living Dead (1968)

Dawn of the Dead (1978)

Day of the Dead (1985)

Zombie Cult Zombies gain a cult following and feature in many movies.

Zombies gain a cult following and feature in many movies.

Zombies enter pop culture While hardly horror, Michael Jackson’s Thriller video did much to feature the zombie in popular imagination.

While hardly horror, Michael Jackson’s Thriller video did much to feature the zombie in popular imagination.

Zombies go mainstream

Zombies go mainstream

Zombies go mainstream San Francisco Zombie Walk (2005)

San Francisco Zombie Walk (2005)

Romero’s return Land of the Dead (2005) Diary of the Dead (2007) Island of the Dead (post-production)

Land of the Dead (2005)

Diary of the Dead (2007)

Island of the Dead (post-production)

Romero’s Zombies Zombies resonate with the very processes that produce and enforce social order

Zombies resonate with the very processes that produce and enforce social order

Romero’s Zombies "zombies present the ‘human face’ of capitalist monstrosity." (Shaviro, 288)

"zombies present the ‘human face’ of capitalist monstrosity." (Shaviro, 288)

Romero’s Zombies "zombie tales dramatize the strangeness of what has become real" (Shaviro, 289)

"zombie tales dramatize the strangeness of what has become real" (Shaviro, 289)

Romero’s Zombies zombies figure a social process that no longer serves ratinalized ends (Shaviro, Cinematic Body 84 )

zombies figure a social process that no longer serves ratinalized ends (Shaviro, Cinematic Body 84 )

Night of the Living Dead Zombies are overt social process of the disintegration of all communal bonds Racism

Zombies are overt social process of the disintegration of all communal bonds

Racism

Dawn of the Dead Zombies and consumerism Also humans and consumerism Capitalist exploitation

Zombies and consumerism

Also humans and consumerism

Capitalist exploitation

Day of the Dead Containment and boundaries Cold War

Containment and boundaries

Cold War

Land of the Dead Terrorism Fear of the outsider Isolationism

Terrorism

Fear of the outsider

Isolationism

Diary of the Dead Media panic Revisiting Night of the Living Dead

Media panic

Revisiting Night of the Living Dead

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