Bibliography Of The Movie 'Fido'

The article “Dead man still walking: Explaining the zombie renaissance” by Kyle Bishop is about the revitalization of the zombie genre. The article talks about the inception in the late 1960’s, the category of zombie films has had its roller coaster ride of ups and downs, starting with its decline in the early 1980’s with the release of Michael Jackson’s “Thriller” video. Furthermore, during 1990’s, due to the shift in the cultural consciousness that came with the Clinton Administration and the countries isolation from global tragedies, the popularity of these films continued to decline. Cultural consciousness refers to the understanding and awareness a shift in feelings, sensations, thoughts, of not only our own culture, but adjoining cultures.

She allows the reader to truly imagine themselves in a zombie apocalypse by using description and comparison. “If you work in the many white-collar fields that have suffered in this recession, zombies are the perfect representation of the fiscal horror show” (Bosch, 651). Any reader that works in the white-collar fields, or knows anyone that does, can relate to what Bosch is saying because she used a vivid description and a comparison in one sentence. Readers will read this line and imagine their work chaos during the recession and immediately visualize zombies taking over the world and the madness that goes along with that. “There was a recession. It was a time of unemployment – of white-collar employment…” (Warner, 197). She also uses another type of figurative language: a metaphor. When she talks about the reality of zombie television shows and movies, she used a metaphor to compare modern day zombies to unicorns. “[n]o longer are zombies the beloved genre of the lonely, virgin teenage male, the macabre flipside of the girls’ obsession with unicorns” (Bosch, 651). She uses this metaphor to enhance the reader’s reading experience with humor but also by allowing the reader to understand how modern day zombie television shows and movies are looked upon. It is no longer for guts and gore but for fondness of shows and

In the modern movie genre, horror movies accounts for very great proportion of the number of followers. Relevantly, the zombie film genre has been developed into a dominant part of mainstream horror, replacing the previous monster such as vampires and werewolves. In Max Brooks’s essay “The Movies That Rose From the Grave”, he offers his opinion that throughout the process of zombie film transformation, it increasingly captivates viewers while gradually generates the modern horror. Brooks’s essay should be an appropriate inclusion of a college textbook which explains the phenomenon of the “undead explosion” in various kinds of media, proving to the audiences with enthusiasm, interest, credibility and specific examples that zombie culture is resurrecting a formerly obsolete genre.

The movie Zombieland (2009) is one of the several movie which accounts for the zombie apocalypse. The director took his own different approach to the creation of the story. His take on the movie, was more of a survival guide if a zombie apocalypse actually happens. In the following paragraphs I’ll exploring the film’s plot and how it creates particular ideas about the film’s diegesis and the meaning the film’s narration creates about love and survival.

Zombies aren’t supposed to exist. But what if they do, and we interact with them every day? Chuck Klosterman’s essay, “My Zombie, Myself”, compares everyday life to the task of killing zombies. Through elaborate metaphors, quotes from zombie experts, and a strong call to action, he successfully appeals to pathos, ethos and logos to convince his readers. Klosterman argues that even though modern life is monotonous, it is possible to escape the monotony.

The foundation of horror genre was set by monsters that not only haunted your dreams but also conveyed rich themes found deep beneath the surface. Vampires are considered a symbol of seduction and sophistication while Frankenstein monsters represent misunderstanding, oppression, and rebellion. Some of the strongest symbolism is found in standard films of the horror genre does not come from the frequently updated relics. Utilizing fear and horror as mechanisms for subtext, social commentary, and symbolism, George Romero created a new horror genre, one that scares and shines just as much as great horror classics. Romero’s Night of the Living Dead revolutionized the once stagnant zombie film and made into something unstoppable, still to this day zombie movies rake in millions of ticket sales at the box office while remaining culturally relevant.

During the atomic age, the zombie was born, as a new monster that resembled Cold War anxieties. One of the most known fears was the fear of the spread of communism in the United States that would "[turn] citizens into mindless hordes." Nowadays, zombies have developed and are not stupid and slow as shown in the first zombie movies, but they are smart and fast today. The perfect killing machines. Zombies can be compared to "terrorist sects and sleeper cells [...]" (66). The zombie walked represents insecurity in a culture, about "who we are, who the enemy is, and whether s/he is us." The zombie walk helps participants to express their feelings about cultural anxieties related to death and warfare. The destructive force of zombies is detectible in modern anxieties over terrorism and worldwide war. Here, zombies walks have a deep meaning. They "act as a means for working through [...] the structural conditions of a new and violence that so

Its goal is to appeal to the audience’s emotions and create a mental imagine in their head which helps them understand the point of the view of the author. Pathos is virtually the strongest of the three persuasion methods utilized in this article. By taking advantage of well known zombie literature, and films from the twenty-first century, the author evokes the readers to feel sympathetic for themselves. By analyzing and breaking down the novel into three different sections, focusing his argument, the author slowly transactions from an apprehensive tone to an optimistic tone. Simultaneously the author is appealing to both; the emotional aspect of the argument and his own credibility as a writer. “The zombie virus makes us fight the war they want, and critical time is lost while we struggle to make the necessary recognition. Only the prospect of extinction opens our eyes,” by using diction Vlahos appeals to the emotional side of the readers. The pervious quote hits the reader with a sense of danger, forcing them to become conscious about a future calamity. However, the author changes directions midway through the article, he focuses on the possibility of mankind’s survival. The author takes a patriotic stand claiming “If America does not--if someday it cannot--then there will be no salvation,” referring to the apocalypse. By taking such a stand, he appeals to all those fearing

“Looks like you need some motivation privates!” This one line could strike fear into me and my fellow enlistees in the army. It was a favorite line for our drill sergeants, and for good reason. Fear is a strong motivator. It can be used, and to an extent used positively, for anything from keeping a bunch of 18 year old, wannabe soldiers in line to scaring someone into accepting one’s argument. This is the case in Doug Mann’s Pop Matters article “Our insatiable Techno Zombie Love”; in this article Mann tries to manifest fear in the reader in order to make them believe that America’s recent obsession with the monsters known as zombies is rooted in modern society forfeiting its freedom. Through the use of language that feeds into what terrifies today’s youth culture, Mann is able to make a compelling argument for his idea. By using the powerful political, economic, and social fears adopted by current young adults, Mann works to convince his audience that they are becoming mindless zombies.

“Movies that Rose from the Grave” was written by Max Brooks in which attempt to explain and inform people with curiosity and excitement towards zombies, on their history and how they came about. He introduced how the voodoo zombie aroused the “hostile, fleshing-eating, ghoul” we see in movies and other productions. It was not until 1968 that the tall tale of the science experiment became the monster we all avoided to see underneath our beds. With the anticipation at our feet, George A. Romero revolutionized a whole new genre, now known as “horror-apocalypse.” Since then other productions such as, Night of the Zombie, Zombie 2, Wild Zero, and Michael Jacksons Thriller music video, have flourished the killer

Additional, it gets clear that the plagues in early modern times were bound on the economy and trade routes, therefore, the “circulation of capital” (131) is the plague’s major instrument. In contrast to the early plague narratives, the postmodern zombie films offer new forms and instruments of infection. The viral zombie replaces the typical plagues and embodies fears as a persistent threat, which is able to uncover socio-economical institutions. Boluk and Lenz identify the viral zombie as a 20th century phenomenon, which criticizes mass consumption and contemporary life and simultaneously destroys the essential environment for capitalism. The authors conclude their analysis of the zombie by categorizing it as an apocalyptic figure and the product of globalization, media and social networks. Furthermore, they examine that zombie films are attempts to think past the apocalypse to identify a dystopia. Similar to the early modern plagues, the zombie is also a social leveler and finally serves as a connection for the different contemporary discourses. In my opinion, Boluk and

The film 28 Days Later, go deep into the world of monstrosity and the audience’s perception and understanding of monstrousness. 28 Days Later is a 2002 British post-apocalyptic film, which gives a refreshing take on the “zombie” horror genre. The film follows Jim and a few other survivors as they navigate themselves in a post-apocalyptic world, where the undead is among the living. However, the living is even more dangerous than the undead. The reason 28 Days Later is one of the most critically acclaimed zombie horror movies, is the way it portrays zombies. In all the history of zombie horror movies, zombies were always depicted the same way. They were portrayed as slow, dumb, and inhuman, they were viewed as these disfigured creatures. However, in 28 Days Later, the zombies had the characteristics of most humans. They possessed human-like speed, intelligence, and they were infected with the disease that most humans have, rage. That is what set this film apart from others and made it truly scary. The “monsters” in the film, was just an unhinged version of ourselves. People will often mistreat, kill, and lie to each other, even if it was not necessary, it is just in their nature. The humans are now a new kind of monsters, and that will be portrayed through the theme, music, and editing.

Is it possible to kill an idea when it is undead? Classic movie monsters tend to fade in and out of popularity as audiences grow bored and move on to fresher concepts. But there is one that has risen up and does not seem to slow down: zombies. Zombies have gone from being a small subgenre of horror film to a staple of popular culture across various media. This paper will explore the rise of zombies in popular culture and why it continues to remain relevant.

As a little kid, we all had an imagination that no one could understand other than ourselves. Believing in imaginary friends or monsters led us to believe in make belief creatures or anything shown on TV. Therefore, there is always something lurking in the night that scares you, whether it was an illusion or real. To some people, your fears may be made up, but others may join you and say they are horrified. It may all be in your head; however, it will seem real and frighten you. The horror film, 28 Days Later, directed by Danny Boyle in the early 2000s is a story about an apocalypse led by a rage infection turning those who are human into killers. Furthermore, this will leave moviegoers wondering if this could really happen. Although viewers may believe in infections spreading throughout the world, killing off those who are infected, 28 Days Later, presents an apocalypse as being very frightening; however, will it horrify those who don’t believe in zombies.

"I miss Fido" cried Tonya as her parents tried to put her to bed. Fido was there dog and he had been missing for a week. The Thomson family, the one that owned Fido, had three kids. Dan, the oldest, was fifeteen years old and loved football. Katie, was seven years old and Tonya was five. Their parents owned a very popular grocery store which gave them lots of money and there dog Fido who was loved by the whole family was very calm and didn't move around much.