Zombies, By Zombies And Vampires

What are vampires and zombies? “Vampires suck the human blood at the time of night. But their brains are pretty much functional. On the other hand, zombies are brain-dead and they feed on human flesh at any time of the day” (ReComparison.com). Vampires are intelligent and cunning, using their wisdom to attract prey. A common behavior of vampires is seduction; this is because vampires are usually attractive. It helps with getting an easy meal; they don’t have to deal with too much of a fight, unlike zombies. Zombies don’t have much wit and must chase after their prey. With their brainless behaviors, zombies don’t have individual personalities. They are all similar and act on the same instinct. Vampires are full of their individual

Zombies, as we know them today, have mortified movie viewers for the last forty six years. Modern zombies first appeared in George A. Romero’s Night of the Living Dead in 1968. These zombies were the slow moving, staggering ghouls that one has seen in countless films, but in 1985, Return of the Living Dead featured a new kind of zombie, the first fast moving and talking ghoul. Both Night of the Living dead 1968 and Return of the Living Dead 1985 feature the zombie as its villain, but Return of the living dead’s fast moving, talking zombies are a more modern take on the movie monster.

Reading through the whole essay, there are many appealing strategies found in order to strengthen the essay academically. Brooks attracts the audience with a pathos-style strategy, giving specific movie examples to straighten up the essay. The movie Night of the Living Dead resonates the viewers with an image of a flesh-eating and harmful zombie figure instead of a harmless voodoo-created zombie, which makes the notion of zombies transformed into a horrifying figure, provoking the sense of fear of audience with emotional appeal. The revolutionary creation of zombie film was led by George A. Romero, the father of the entirely new horror genre. In his work, zombies are characterized as a form of undead

Personality change, clumsiness, unconsciousness, and the urge to bite. Can all be associated with characteristics of a zombie. This popular phenomenon has been a popular topic in the past decade in films such as “I am Legend” (2007), “Zombieland” (2009), and “World War Z” (2013). And the theme has also even made it into American television such as “The Walking Dead” (2010). Which has caused discussions of can zombies physically exist? Is the idea so farfetched? However, philosophers do not associate zombies with the animated representation of “rotting, flesh-eating, rising from the dead” like they are presented in films and television. In The Stone Reader philosophers have defined zombies as “physically identical to you or me but utterly lacking in internal subjective experience” (Catapano., Peter, & Critchley., Simon, 2016, p.296). Which brings us back to the opening sentence, all these characteristics that we associate with zombies are symptoms of sleeping sickness, sleep walking and rabies along with many more diseases that have the characteristics of a zombie. Similarly, how philosophers have defined what a zombie is, philosophical arguments such as dualism, materialism, and epiphenomenalism can prove that it is possible that zombies can physically exist in our world.

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.

“Zombies are like the Internet and the media and every conversation we don’t want to have. All of it comes at us endlessly (and thoughtlessly), and – if we surrender – we will be overtaken

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 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.

First off, I love Mathias Clasen’s paper, about people becoming reanimated corpses or zombies. I would not know what I would do if my Mom become an undead monster, or worse, what if my father, who passed away six years ago, came back from the grave. Could I bring myself to kill them, (well kill my dad again because he already dead) or tie them up, lock them in my basement and just go to see them, like the movie, Shaun of the Dead. The dynamic questions come into that what are monsters within and without. Clasen talks about zombies being “dull creatures” and having one life goal, “to eat fresh and brains” (3) compared to vampires or werewolves, who retain their intelligence. Compared this cultures and looking from the outside on taboo monsters that are alive monsters (aliens, killer sharks, or killer humans), the undead breaks the code of

Stephen King’s fore note to Danse Macabre, he suggested that zombies act as fast-moving terrorists. “By 2004, only three years downriver from 9/11, rampant consumerism was the last thing on our minds. What haunted our nightmares was the idea of suicide bombers driven by an unforgiving (and unthinking, most of us believed) ideology and religious fervor. You could beat ’em , burn ’em , but they’d just keep coming, the news reports assured us.” (King 40) Here Stephen King says that terrorists are relentless killers. What Stephen King is not mentioning, is that terrorists are not necessarily fast moving and neither are all zombies. Stephen King is generalizing zombies and terrorists which, makes his argument weaker than it appears. There are many myths about zombies in literature and movies that do not fit the characteristics in which King is discusses. Some other examples of zombies, such as the Resident Evil films, portray zombies in a different way. In Edgar Allan Poe’s The Tell-Tale Heart he describes a man with a disfigurement that gives us insight to the true nature of the fear created by zombies.

The story Dracula begins with a diary, this diary is kept by Jonathan Harker. Jonathan Harker, who is a English soliciter/lawyer,used to live in England hoever recently he moved into Europe. The reason he moved was because he was embarking on his first professional assignment as a solicitor. Harker travelled to the castle of count Dracula.

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.

The topic of the undead coming back to life to feast on the living has been around since the first zombie movie White Zombies in 1932; however, just in the past few decades has the threat of a zombie apocalypse enter the realm of international politics. The threat of a zombie apocalypse is a very serious concern of the international communities. Many political scientists are not sure how the world leaders would be able to work together if this issue were ever to arise in the world today. In the book “Theories of International Politics and Zombies”, Drezner uses the threat of a zombie apocalypse to show how the different theories of international politics would eliminate the threat; however, are the living dead a real international concern or are they just a brilliant metaphor for something much greater that could happen to the world.

Though zombies are the monster of the moment, vampires have plenty of things they don't, like versatility; recognizable zombies are mindless rotting re-animated corpses hungering for human flesh, taking one of those things away doesn't mean it's not a good story but it does go against the strong zombie image and stumble into vampire story territory. Vampires on the other hand, are often sentient and so can be very varied in terms of character, you can have a story of a good vampire or a villain, a new vampire or one who has lived through ages. Though, just because they can be varied doesn't

Exactly. That's my take on the modern obsession with vampires and zombies, actually: Our current situation has turned 99% of us into one or the other. Most of us are zombies, roaming around almost aimlessly, overwhelmed and made catatonic by one or two urgent needs. The "top" 20% or so are vampires, feeding on the rest to survive, powerful as long as they continue to sacrifice victims to the "way things are," but knowing that it's all deeply wrong and has permanently separated them from the rest of humanity. The vampire tales and the zombie jokes are our version of the early Renaissance Dance of Death -- something we can all identify with