The Horror Of Zombie Movies

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.

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.

Daniel Drezner book addresses how the world would potentially react should the Zombie Apocalypse start while relating it to international relations. While discussing the anarchical nature of the world, in the realist argument, he addresses the fact that it is not likely that any one state would be able to gain complete control of the world. However, if the entire world is being overtaken by a zombie plague it is not outside the realm of possibility that survivors of various nations would come together and merge with whatever power still existed and divvy out more power to that group or individual. A good old fashioned military takeover would be just the thing to create an uneasy world-wide alliance with other militaristic organizations across the world against the zombie hordes. The military would easily be able to take charge in a global catastrophe of this nature relatively quickly and with little resistance from the common people. They are one of the most disciplined and structured organizations in regards to bureaucracy and other political organizations, and would not hesitate to change the protocols of war against an end-of-the-world type of threat such as a zombie takeover. Also, military tradition and codes of conduct cross borders with significantly more similarities than do political ideologies and governmental structures, which would result in there being a much easier and more unified alliance than could ever be achieved in any other global unification setting.

Vampires and Zombies are common in today’s modern world through the use of the media. In this essay, I will be talking about how each of these beings say something about society, how vampires have been portrayed across time and how zombies have been portrayed. By doing this, I will use two references from TV shows.

The name of the article is Our Zombies, Ourselves written by James Parker. In this article Parker discusses the historical backdrop of zombies and talks about where it is that they started from. Parker additionally raises exceptionally fascinating point on the notoriety of zombies and a short timeline on zombies. He also talks of different sorts of popular cultures which incorporate zombies and are utilized, for example, the movies Night of the Living Dead, White Zombie, the books The Zen of Zombies, Zombie Haiku, and the television series The Walking Dead.. By utilizing these references Parker helps demonstrate to us how zombies appear to ceaselessly draw our interest. The article additionally educates the reader about how zombies came

There has been a resurgence of zombie films in the last decade, ranging from Danny Boyles 28 Days Later to Paul W.S. Andersons Resident Evil. This renaissance of zombie cinema has resurfaced in response to the cultural, political, and social volatility experienced in today’s society, much like its predecessors. A zombie film, unlike other monster movies, plays more with the real-world fears and anxieties, presenting the audience with inescapable realities. However, to understand why this subgenre has been brought back into the mainstream cinema, a comparison is needed across generations of film. This paper will focus on the comparison between George A. Romero’s Night of the Living Dead and Danny Boyles 28 Days Later; in an attempt to show how zombie cinema is a reaction to cultural shocks.

In this paper, the author, Olivia Miller, examines how zombie media texts affect presidential rhetoric through analyzing two of Obama’s foreign policy apologia speeches, one at the National Defense University and one at the Justice Department. She mentioned that the zombie narratives such as the Walking Dead and I Zombie have proliferated across media text and this popularity of Zombie text has caused the past decade’s cultural zeitgeist, “a fascination with the zombies that has been acknowledged by scholars as a response to the theorist attacks of 9/11 and a reflection to public uncertainty” (Olivia, 2016). She found a connection between the post-zombie apocalypse narrative, a differently structured narrative with more potential as a metaphor for the current political landscape and new terrorist threats, and Obama’s political efforts. That is, the post-zombie apocalypse narrative couches on surviving rebuilding society, reinstitution morality, and learning to live withe the threat of zombies while striving to regain normalcy. Obama’s speeches convey the similar thoughts that even

Predecessors of George Romero’s Night of the Living Dead, the film that greatly popularized the zombie sub-genre of horror, display a clear divergence from the monster we recognize today from literature and media. In the 1930s, prior to evolving into the modern flesh and brain eating monsters, zombies were mindless slaves controlled and made to do the bidding of their evil masters. The process of zombification was an avoidable danger for its victims and was a state that was induced and reversible as, without their master, the zombie became aimless and was restored back to normalcy. The zombie films of the 1930s to the 1950s, specifically The Mummy (1932) and White Zombie (1932), originated the zombie genre, laid the foundation for Romero to

No book has captivated the zombie apocalypse better than World War Z. Max Brooks creatively presents “a worldwide zombie pandemic from outbreak to aftermath” (Boyd, Tristan). His book encompasses many social and political themes in the world today. The book

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.

People dress up as zombies and suddenly, this fan base all over the country comes together to talk about the one thing they love. “The Walking Dead” opened a world that had never been seen before. Take, for example, a horror show from the 90’s, a show mainly for kids, “Goosebumps” brought a revolutionary take over to many individuals across the nation. By using effects and story telling it revolutionized TV and that is exactly what can be seen in “The Walking Dead”. The difference with “The Walking Dead” is that it is one of the bloodiest shows on TV today plus, what is most unique about it all is that it is a very bleak and depressing show.

The popularity and appeal of the undead has greatly increased in the past few years with the rise of the popular television show, The Walking Dead. The show began in October 2010, and is still on the air today. Before the show was created, there were The Walking Dead comic books that were first published in 2003, and continue to be published today with over 148 issues. The fascination did not begin with The Walking Dead, though. Many movies were produced, and many books published before The Walking Dead was even thought of. An extremely influential individual to note is George Romero. Romero is an American-Canadian screenwriter, film producer, film director, and editor. He is best known for his series of apocalyptic films, beginning with Night of the Living Dead in 1968. Romero has been nicknamed the “Godfather of the Undead.” Some other works of fiction and film to note include 28 Days Later, I am Legend, Pride and Prejudice Zombies and The Zombie Survival Guide, also by Max Brooks. Our cultural fascination with “the return of the dead” can be traced back to the events and the general morale leading up to World War Two, and the atomic bombings of Hiroshima and Nagasaki in 1945.

For my ethnography project, I chose to study the fandom of The Walking Dead. For the purpose of this paper, I will refer to The Walking Dead as a comic, a video game, and a TV show series. The focus of this ethnography is to understand how the comic book culture influences many fans. Since the series is based on a graphic novel series, and some of the fans are schooled in comic culture; they arrive with literacy in comic storytelling. Others who are not fans may recognize the visually and narrative of zombie films, in the horror genre after 1968’s Night of the Living Dead and Dawn of the Dead. Yet many Walking Dead fans appear to have migrated to the zombie tale without any particular connection to the comic book storytelling, or significant fascination, and the series’ fandom illuminates how an apocalyptic imagination has expanded into popular culture.