Zombie Apocalypse Effect

Rodney Clapp, writer, editor for Wipf and Stock Publishers and expert in topics such as theology and culture, in the article, “Attack of the Zombies”, argues that many things in life are beginning to resemble zombies. Clapp assumes that the audience also views zombies as lifeless creatures that go around spreading their disease. The author’s purpose is to persuade the audience to believe that many things they see today are starting to resemble zombies. The author writes in a challenging tone for people who question the similarity of zombies to every day life. Clapp supports his argument by comparing and contrasting, and exemplification.

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.

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

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.

AHHHHhhhhhh........! Imagine being awakened by a soft, distance scream. Wide awake, the world returns to being silent except for a racing heartbeat. Suddenly, a soft resonating moan starts to fill the empty air of the bedroom. Looking out the window, the world is an eerie grey with nothing moving but the occasional garbage blowing in the wind. Suddenly the horizon begins to change as a crowd of people begin to emerge. Watching nervously, the figures get closer and turn into something much more menacing. They are all disease-invested, flesh-rotted, brain-hungry zombies! Where did these undead monsters come from? How do they survive? What

A major contributing factor to this great change is the fear and uncertainty that is instilled by the zombies. I believe that Brooks defined fear through people’s reactions to the outbreak. He explains how fear is the most basic emotion and how fear is the reasoning to perform an act. In one of his stories, he writes, “fear is the most valuable commodity in the universe” (Brooks). This is true because we buy products and services based on the fear of not having those products and the results of not having that commodity.

When analyzing this piece of writing it is clear that the purpose is not to entertain or persuade. The purpose, instead, is to inform and give a new perspective on zombie movies in a simple way that an audience of all ages can understand. In Andrew Cooper and Brandy Blake’s, “George Romero Zombie Films: A Plague of Meaning,” the authors walk the reader through how as time changed zombie movies changed with it. The authors further explain how zombies in many movies represent the time and culture. The writers inform the reader through their use of information from past zombie movies and analysis of the events of the times they were made.

In the event of a zombie apocalypse everything in this world would change. Society will not be the same, the norms society once had will be different. Governments would like to establish social control but the environment would be too chaotic to control. A survival mode would be establish by everybody, everybody would be by themselves, and only protect their own. Resources would be the new currency, because paper money would no longer have value, but a resources will.

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.

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.

One of the interesting movie plot is about Zombie. Zombies are fictional creatures usually portrayed as reanimated corpses or virally infected human beings. The Zombie plot is rising and lots of Movie use Zombies as their main plot. Some movie combine the zombie plot with action, while others combine it with comedy, crime, romance, etc.

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.

It is largely debated what should qualify as science fiction, but commonly agreed is that at the core of this genre is a scientific discourse derived from a realistic idea that lies within the boundaries of what is possible, a Zombie apocalypse would however lend itself be pseudoscientific as although rational is given a virus that could re-animate the dead is not possible. The rise of apocalyptic discourse within television and film in recent years does not usually hold the narrative itself but instead lends itself as a location for the human condition to be explored as characters are forced to confront a dystopia of dismantled ideologies and the destruction of familiar social and political orders.

Survival and disaster preparation are relevant in the stories in the novel. Several interviews, especially those from the United States, focus on policy changes designed to train the surviving Americans to fight the zombies and rebuild the country. For example, when cities were made to be as efficient as possible in order to fight the zombies, the art of using real places and locations to describe these disasters, or when the ultra-rich hide in their homes, which had been turned into fortified compounds, they were overwhelmed by others trying to get in, leading to mass slaughter. Throughout the novel, characters demonstrate the physical and mental requirements needed to survive a disaster. There were so many disasters that can be related to the outrageous earthquakes, tsunamis, and volcano eruptions, etc. Zombie apocalypse can most likely be a reality through the spread a deadly virus. Brooks described the large amount of research needed to find optimal methods for fighting a worldwide zombie outbreak.

I have determined that there are three different types of zombie movie. First, the movies that showcase the slow, but still startling zombies, like Night of the Living Dead. Night’s “zombies are slow, the humans just get themselves into trouble by reacting stupidly, or not paying enough attention to the problem.” (G.A. Romero) Next, films like Shaun of the Dead, which portray the sometimes amusing but still creepy zombies. And finally, movies like Day of the Dead (2008) which introduce the completely terrifying, gravity-defying zombies.