Warm bodies presentation
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this is my 1st semester's presentation on the movie 'warm bodies' from the course-'cultural construction of Shakespeare'. The differences between the movie and the novel are presented on the slides as well as from where it is depicted. Hope it helps you guys. Thanks.
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A Zombie Manifesto The Nonhuman Condition in the Era of Ad.docx
A Zombie Manifesto:
The Nonhuman Condition in the Era of Advanced Capitalism
Sarah Juliet Lauro and Karen Embry
The zombie has been one of the most prevalent monsters in films
of the second half of the twentieth century, and as many have noted, it has
experienced a further resurgence (or should we say, resurrection) in British
and American film in the last five years.� Zombies are found everywhere,
from video games and comic books� to the science textbook. The zombie
We wish to thank the following persons for their invaluable input and support: Marc Blan-
chard, Colin Milburn, Caleb Smith, Michael Ziser, Joshua Clover, Tiffany Gilmore, Maura
Grady, Courtney Hopf, Shannon Riley, and Jack Martin.
1. Films such as Shaun of the Dead, directed by Edgar Wright (Big Talk Productions,
2004); 28 Days Later, directed by Danny Boyle (British Film Council, 2002); Dawn of the
Dead, 2004 Remake, directed by Zack Snyder (Strike Entertainment, 2004); Land of the
Dead, directed by George A. Romero (Atmosphere Entertainment, 2005); and the Resi-
dent Evil series, directed by Paul W. S. Anderson (Constantin Film Produktion GmbH,
2002) and Alexander Witt (Constantin, 2004). See Peter Dendle’s book The Zombie
Movie Encyclopedia (Jefferson, N.C.: McFarland, 2001); Jay Slater’s Eaten Alive! Italian
Cannibal and Zombie Movies (London: Plexus, 2002); and Stephen Thrower’s Beyond
Terror: The Films of Lucio Fulci (Guildford, UK: FAB Press, 1999).
2. For example, Bogus Dead, Zombie Commandos from Hell, Carnopolis, Containment,
boundary 2 35:1 (2008) DOI 10.1215/01903659-2007-027 © 2008 by Duke University Press
86 boundary 2 / Spring 2008
has become a scientific concept by which we define cognitive processes
and states of being, subverted animation, and dormant consciousness. In
neuroscience, there are “zombie agents”;� in computer science there are
“zombie functions.”� We even find “zombie dogs,” “zombie corporations,”
and “zombie raves” in the news.� The ubiquity of the metaphor suggests
the zombie’s continued cultural currency, and we will investigate why this
specter has captured the American imagination for over a century. We want
to take a deeper look at the zombie in order to suggest its usefulness as an
ontic/hauntic� object that speaks to some of the most puzzling elements of
our sociohistorical moment, wherein many are trying to ascertain what lies
in store for humanity after global capitalism—if anything.
Our fundamental assertion is that there is an irreconcilable tension
and Biohazard. See All Things Zombie, http://www.allthingszombie.com/comics_reviews
.php.
3. “Longtime collaborators Christof Koch and Francis Crick (of DNA helix fame) think
that ‘zombie agents’—that is, routine behaviors that we perform constantly without even
thinking—are so much a central facet of human consciousness that they deserve serious
scientific attention” (“Zombie Behaviors Are Part of Everyday Life, According to Neurobi-
ologists,” Febr.
Romero's Zombies
George Romero is known for revolutionizing the zombie genre with his Dead series of films beginning with Night of the Living Dead in 1968. In these films, zombies became representations of American culture and social issues, rather than exotic others. Romero portrayed zombies as metaphors for topics like racism, consumerism, containment during the Cold War, terrorism, and media panic. Other scholars have analyzed how Romero's zombies critique capitalist society and represent social processes and the disintegration of communal bonds.
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The document proposes an opening sequence for a crime thriller film called "The Hit" starring Jason Statham and Ralph Fiennes. The sequence would follow Fiennes being assassinated by Statham while traveling through the London Underground, with the tube station names replaced by the cast and crew's names in the titles. It describes shooting the sequence using CCTV footage to make it seem like someone is watching, and zooming in and out of stations to imply travel while also displaying the credits.
Vladimir Propp theory
Vladimir Propp was a Russian critic interested in folk tales. He noticed many folk tales shared similar narrative structures and characters. Propp identified 8 character types that exist in all folk tales and 31 key narrative events that typically occur in stories in a particular order based on these characters. Propp's theory analyzed the functions of characters and their narrative roles. He claimed characters have motives that cause events and sides are taken in conflicts central to these stories.
History of the gangster genre
Mob and gangster films depict organized crime, often involving the mafia. The first such film was 1912's The Musketeers of Pig Alley, about a poor couple threatened by gangsters in New York City. Another early example is 1927's Underworld, following a criminal named Bull Weed and his rivalry with another gangster. Later, 1956's The Killing depicts a heist planned by a veteran criminal that goes wrong. These early films were shorter than modern gangster movies and showed less violence. Over time, the genre has evolved to include more action and graphic depictions of crime.
Lovestory
Erich Segal was an American author best known for writing the 1970 novel Love Story and the screenplay for the film adaptation. The novel tells the love story of Oliver Barrett IV and Jenny Cavilleri from different social classes who meet in college and fall in love, but face tragedy when Jenny becomes ill. It was a major commercial success and became the bestselling work of fiction in the US for 1970, translated into 33 languages. One of the most famous quotes from the novel is "Love means never having to say you're sorry."
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The document provides a summary of the 2017 film Alien: Covenant directed by Ridley Scott and written by John Logan. It describes the storyline where a crew discovers an artifact showing the location of early humans and travels to a distant planet. Upon arriving, they find the planet lifeless except for a cave that can sustain life. While exploring, they discover alien eggs that can infect anyone who comes in skin contact or breathes near them, leading most of the crew to become hosts for the aliens. It also notes how the film falls into the science fiction genre through its futuristic setting featuring a spaceship and medical robot, as well as the presence of aliens killing people.
Horror genre histoty
The document provides a history of the horror genre in film from the late 1890s to the present. It notes that the first depictions of supernatural horror appeared in silent shorts produced by Georges Melies in the late 1890s. In the 1930s and 1940s, Universal Studios produced a successful series of Gothic horror films including Dracula and Frankenstein. As technology advanced, films explored fears of Armageddon and demons, exemplified by Godzilla. The 1960s saw the emergence of the slasher subgenre with films like Peeping Tom. Comedy-horror rose in popularity in the 1970s-1980s. In the 1990s, slasher films became self-referential and ironic, while the 2000s
love story
The document summarizes the 1970 novel and film Love Story by Erich Segal. It provides biographical details about Segal and contextualizes the time period in which Love Story was released. The novel tells the love story between Jennifer Cavalleri and Oliver Barret IV, whose romance and marriage face obstacles from their different socioeconomic backgrounds. The film adaptation starring Ali MacGraw and Ryan O'Neal became the highest-grossing picture of 1970.
History of the horror genre
The document provides a history of the horror genre, beginning with its origins in the late 18th century with novels like The Castle of Otranto and Frankenstein. It notes that the first horror films emerged in the late 19th century and were usually silent. Key early horror films that helped establish the genre included The Cabinet of Dr. Caligari in 1919 and Dracula in 1931. The document outlines some subgenres and popular horror franchises, and discusses how monsters have evolved representations of societal fears over time and how audience expectations have changed with advances in technology.
Introducing myself for "The Novel"
Richard Pezzella is a second year anthropology major at SUNY New Paltz from Brooklyn. He enjoys longboarding, playing videogames on his Alienware computer, and photography. Some of his favorite authors are Robert A. Heinlein, known for pioneering military science fiction; Max Brooks, who wrote the popular zombie novels World War Z and The Zombie Survival Guide; and Joseph Staten, a lead writer in the video game industry known for his work on the Halo and Destiny franchises. He is currently rereading A Song of Ice and Fire and reading American Gods in his time between school terms.
The history of the horror genre
The document outlines the history of the horror genre in film from the 1890s to present day. It describes how early horror films dealt with supernatural themes and were influenced by Gothic literature. The 1930s-1940s saw the rise of Universal Studios monster films starring actors like Bela Lugosi and Boris Karloff. In the 1950s-1960s, themes of science fiction and Cold War paranoia emerged alongside directors like Hitchcock and Romero. Subgenres like slashers and occult/demonic films became popular in the 1970s-1980s. Recent horror has seen remakes but also psychological thrillers and torture porn franchises with high gore.
History of the Horror Genre
German expressionist films of the early 1900s, such as The Cabinet of Dr. Caligari, featured expressionistic sets and stories of madness and insanity that influenced the horror genre. Expressionism declined in the 1920s but reemerged in Hollywood, influencing genres like horror and film noir. Classic horror literature from the 18th-19th centuries also influenced early horror films. Horror films in subsequent decades represented the social fears of their time through monster and human villains. Psychological horror became popular in the 1990s.
Francophone claudette colbert z. williams
Claudette Colbert was born in France but grew up in the United States wanting to be on Broadway. As a teenager, she was in a serious accident that left her bedridden for months and using a cane, during which time she developed her acting abilities. Her career then took off, with roles in 64 films, 7 TV shows, 19 Broadway plays, and 21 radio occurrences. During filming, she often only showed her left profile and disliked showing her full face or right side.
Director study
Alfred Hitchcock was an English director and producer known for suspense and psychological thrillers. His first thriller in 1926 was called "The Lodger: A Story of the London Fog" after previous films faced bad luck. Hitchcock married his assistant director Alma Reville and they had a daughter. Hitchcock's best known film is Psycho from 1960, based on the novel by Robert Block, with the famous shower scene known for its unique camera work. Hitchcock's films often featured characters struggling in relationships with their mothers or blonde heroines.
History of horror
Horror movies have evolved significantly from their early beginnings in the late 19th century. Early silent films from the 1900s-1920s were based on literary works but had limited special effects and production value. The introduction of sound in the 1930s and color in the 1940s further advanced the genre. Modern horror spans a wide range of topics and incorporates advanced special effects, though still draws inspiration from classic monsters and themes of evil. Future developments may integrate more immersive technologies like smell or virtual reality.
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A Zombie Manifesto The Nonhuman Condition in the Era of Ad.docx
A Zombie Manifesto:
The Nonhuman Condition in the Era of Advanced Capitalism
Sarah Juliet Lauro and Karen Embry
The zombie has been one of the most prevalent monsters in films
of the second half of the twentieth century, and as many have noted, it has
experienced a further resurgence (or should we say, resurrection) in British
and American film in the last five years.� Zombies are found everywhere,
from video games and comic books� to the science textbook. The zombie
We wish to thank the following persons for their invaluable input and support: Marc Blan-
chard, Colin Milburn, Caleb Smith, Michael Ziser, Joshua Clover, Tiffany Gilmore, Maura
Grady, Courtney Hopf, Shannon Riley, and Jack Martin.
1. Films such as Shaun of the Dead, directed by Edgar Wright (Big Talk Productions,
2004); 28 Days Later, directed by Danny Boyle (British Film Council, 2002); Dawn of the
Dead, 2004 Remake, directed by Zack Snyder (Strike Entertainment, 2004); Land of the
Dead, directed by George A. Romero (Atmosphere Entertainment, 2005); and the Resi-
dent Evil series, directed by Paul W. S. Anderson (Constantin Film Produktion GmbH,
2002) and Alexander Witt (Constantin, 2004). See Peter Dendle’s book The Zombie
Movie Encyclopedia (Jefferson, N.C.: McFarland, 2001); Jay Slater’s Eaten Alive! Italian
Cannibal and Zombie Movies (London: Plexus, 2002); and Stephen Thrower’s Beyond
Terror: The Films of Lucio Fulci (Guildford, UK: FAB Press, 1999).
2. For example, Bogus Dead, Zombie Commandos from Hell, Carnopolis, Containment,
boundary 2 35:1 (2008) DOI 10.1215/01903659-2007-027 © 2008 by Duke University Press
86 boundary 2 / Spring 2008
has become a scientific concept by which we define cognitive processes
and states of being, subverted animation, and dormant consciousness. In
neuroscience, there are “zombie agents”;� in computer science there are
“zombie functions.”� We even find “zombie dogs,” “zombie corporations,”
and “zombie raves” in the news.� The ubiquity of the metaphor suggests
the zombie’s continued cultural currency, and we will investigate why this
specter has captured the American imagination for over a century. We want
to take a deeper look at the zombie in order to suggest its usefulness as an
ontic/hauntic� object that speaks to some of the most puzzling elements of
our sociohistorical moment, wherein many are trying to ascertain what lies
in store for humanity after global capitalism—if anything.
Our fundamental assertion is that there is an irreconcilable tension
and Biohazard. See All Things Zombie, http://www.allthingszombie.com/comics_reviews
.php.
3. “Longtime collaborators Christof Koch and Francis Crick (of DNA helix fame) think
that ‘zombie agents’—that is, routine behaviors that we perform constantly without even
thinking—are so much a central facet of human consciousness that they deserve serious
scientific attention” (“Zombie Behaviors Are Part of Everyday Life, According to Neurobi-
ologists,” Febr.
Romero's Zombies
George Romero is known for revolutionizing the zombie genre with his Dead series of films beginning with Night of the Living Dead in 1968. In these films, zombies became representations of American culture and social issues, rather than exotic others. Romero portrayed zombies as metaphors for topics like racism, consumerism, containment during the Cold War, terrorism, and media panic. Other scholars have analyzed how Romero's zombies critique capitalist society and represent social processes and the disintegration of communal bonds.
The Cultural Impact of Zombies: From Film to Fashion.pdf
A zombie (English: Zombie) is a living dead creature รวมหนัง Zombie in fiction that arises from a corpse coming back to life. Zombies are commonly found in horror and fantasy media
Zombie horror
This document provides a history of zombie horror films from the 1920s to present day. It begins with the 1922 film The Cabinet of Dr. Caligari, considered the first zombie film. In the 1960s, Night of the Living Dead established the modern zombie as a flesh-eating creature. Dawn of the Dead in 1978 made zombies and their violence a mainstream success. Zombie films flourished in the 1980s with classics like Return of the Living Dead. The 2000s saw remakes like Dawn of the Dead and comedic zombie films like Shaun of the Dead and Zombieland, which blended horror and comedy.
No One Pays Their Bills During a Zombie Apocalypse!
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The idle proletariat dawn of the dead
The document analyzes George Romero's 1978 film Dawn of the Dead and how it criticizes consumer culture. It argues that the zombies represent mindless consumers, drawn instinctually to the shopping mall where they once consumed. The surviving humans isolate themselves in the mall but lose their ability to productively labor, regressing to a more primitive state as they become obsessed with consuming the mall's resources. The film suggests that without productive labor, humans can no longer progress and will ultimately fail to realize utopian visions of the future.
Not a Monster
The document discusses different portrayals and characteristics of zombies. It begins by defining zombies according to the Merriam-Webster dictionary. It then analyzes the zombies in various movies and books, noting how they differ in their abilities and origins. In Night of the Living Dead, zombies shuffle and have little brain function, while in Resident Evil they can move faster and climb. In Guilty Pleasures, zombies are raised by magic and can speak when asked a question. The author's own book features zombies that start slow but evolve to be faster and smarter as the virus spreads. In conclusion, zombies vary depending on their creator but are ultimately limited by brain decay.
Zombie horror
This document provides a history of zombie horror films from the 1920s to present day. It begins with the 1922 film The Cabinet of Dr. Caligari, considered the first zombie film. In 1968, Night of the Living Dead established the modern zombie trope of the flesh-eating undead. The 1980s defined zombie film rules and genres expanded to include comedy zombie films like Shaun of the Dead and Zombieland in the 2000s. George A. Romero is cited as the most influential writer/director for popularizing the genre with films like Night of the Living Dead and Dawn of the Dead.
Zombie horror1
This document provides a history of zombie films from the 1920s to the 2000s. It begins with the first zombie film, The Cabinet of Dr. Caligari in the 1920s, where zombies were summoned rather than feeding on human flesh. The modern zombie was established in 1968 with Night of the Living Dead, making zombies more violent. Dawn of the Dead in 1978 popularized the genre. The 1980s defined zombie film tropes like only killing zombies by damaging the brain. Successful films continued in the 2000s with the rise of comedy zombie films like Shaun of the Dead.
Film essay research
The document discusses how horror films reflect and are shaped by societal fears and culture over time. It explores how different countries portray horror differently and how the themes in horror films have changed from reflecting fears of "the other" to more personal fears closer to home. Some key points made include:
- Early horror films featured threats from vampires and monsters but now focus more on real-life threats like serial killers.
- Films from different decades mirrored the societal fears of that time period, like nuclear threat films in the 1950s.
- Tropes like home invasions may reflect a country's fear of immigrants or foreigners.
- Horror films have also been used to discuss issues like racism, trauma,
Film essay research
The document discusses how horror films can act as a reflection of societal fears and issues. It addresses several topics including how the threats portrayed in horror films have evolved over time to better represent the fears of the era. For example, films after World War 2 featured more werewolf movies likely reflecting the violence of Nazis. The document also examines how horror films have addressed topics like racism, treatment of women, immigration fears and more. Many examples of specific films are provided that illustrate how the films incorporated themes relating to the societal issues of their time period and location.
Zombie
1) The document discusses the concept of zombies through analyzing several novels and providing definitions and characteristics of zombies. It defines zombies as reanimated corpses according to folklore or as completely unresponsive persons.
2) Novels discussed include Pride and Prejudice and Zombies where the Bennett sisters fight zombies, World War Z which describes a global zombie war, and Zone One which follows a survivor in zombie-ridden New York.
3) Zombies are described as initially slow-moving but later fast, mindless, and seeking to feed on human brains and flesh. The document analyzes the history and characteristics of zombies in literature.
GENRE: Research
The document discusses the history and evolution of the zombie subgenre in horror films. It traces the origins of zombies from early 20th century films involving voodoo magic. George Romero transformed zombies into flesh-eating monsters in Night of the Living Dead, establishing the modern archetype. Zombie films grew increasingly gory and popular through the 1970s-80s before subgenres like zombie comedies emerged in the 2000s. The definition and transmission of zombies has changed dramatically over the decades from magical reanimation to virus outbreaks.
Zombies in Pop Culture
A look at zombies in pop culture, why they are so popular, and how they have evolved. Includes the origin of zombies.
Thomas Zombies
This document discusses the history and rise in popularity of zombies in pop culture. It traces the origins of zombies back to ancient texts and explores how they emerged as a popular genre in movies, books, video games and television starting in the 1960s. Key topics covered include the debate around fast versus slow zombies, recommendations for zombie-related viewing and reading materials, and what to expect and how to prepare if a zombie outbreak were to occur.
Genre research
This document summarizes the history and evolution of the zombie genre in cinema. It begins with early influential films from the 1920s-1940s that helped establish tropes of the genre. George Romero is credited with beginning the modern zombie film with Night of the Living Dead in 1968, setting conventions like flesh-eating zombies and survival in an enclosed space. The genre then expanded with Italian zombie films and comedic takes in the 2000s, as well as fictional depictions of "real" zombies.
Zombosium Programme
The keynote paper provided an overview of the proliferation of zombie culture across media in recent years. It discussed how zombie walks have emerged as a form of participatory culture where people create homemade zombie costumes. Zombie merchandise has also grown, including zombie energy drinks sold in blood bags and remote controlled zombies. The paper argued that zombie films have "infected a willing population" through consumer culture. It aimed to understand how modern society has become "infected" with zombie culture and how this has created a new form of modern monster.
The first panel at the symposium discussed AMC's television show The Walking Dead. One paper analyzed how the show brought zombie culture into quality television through its special effects, star actors, and production
I am legend
The document provides information about the 1971 film "The Omega Man" and its source material, the 1954 novel "I Am Legend" by Richard Matheson. It summarizes the common elements between the novel and film adaptations, including the last man struggling to survive in a deserted city overrun by mutants or vampires at night. It also analyzes the different portrayals of "the others" and discusses themes of societal collapse, emerging new cultures, and the protagonist as a monster to the new primitive society.
Group presentation the congress (1)
The film The Congress follows aging actress Robin Wright who is offered a final contract by Miramount Studios that will digitally scan her to create an animated version that can be used however they want. 20 years later in an animated city, Robin is offered a new contract but has a change of heart about losing her identity. She is declared mentally ill and frozen, awakening many years later in a world where everyone escapes to fantasy. Robin tries to find her blind and deaf son but he has also escaped to the fantasy world, so Robin chooses to stay in the animated world while still living in reality.
Conventions of genre
This document discusses the conventions of the post-apocalyptic genre in film. It defines the genre as depicting the end of the world through disasters that destroy modern civilization. Common conventions include survivors banding together, abandoned settings with limited resources, and dangerous environments/antagonists. Narrative theories like Todorov's equilibrium model and Propp's character archetypes apply. Films typically target 16-30 year old audiences with dark themes and violence appealing more to males. Common elements involve survival, death, fear, and isolated protagonist communities struggling to maintain order.
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- 1. Name-Lubna Sultana. Id-191055012 Department of English and Humanities University of Liberal Arts Bangladesh (ULAB)
- 6. About the movie • Apocalyptic movie: starts after 8 years of destruction being affected by plague. • 2 rival groups: humans, zombies also bonie • Romeo (R) is a zombie, Juliet (Julie) is a human. Zombies wants to kill humans and vice versa.
- 7. Difference and similarity to Shakespeare's text • Love at first sight. Rivalry between two groups R protects Julie Some zombies including R turns from zombie to human As a human R is accepted, bonies are destroyed They live in a zombie, bonies free world
- 8. Post modern world • Dystopian world points to an imperfect world full of chaos and killings • No touch of humanity • Cold blooded monsters rule
- 9. Racism and colonialism • The zombies wants to turn humans into monsters but the humans wants to stay as they are. • Thinking of them as superior the zombies wants the humans to obey them • This is also the same case for the humans thinking zombies are not living so they are inferior to them. • Both team wants to perish one another and live by their own rules.
- 10. Encoding and decoding • The director is hinting the audience that the world is walking towards the path of destruction. • It will not be long before cold blooded monsters rule over the world breaking the traditional rule living peacefully in a ruined society turning this movie into a reality. • The end of world is not the end, humans themselves are elements of destruction. As long as humans are present, destruction is yet to be done. • Thus (R) is a monster or zombie. Instead of an typical human.
- 11. Zombie Romeo • In 50’s, the idea of an world full of non living creatures in a ruling as superiors would not even occur. • As a result, this romantic play or novel of Shakespeare's plays did not contain the concept of monsters, non living creatures let along having the protagonist as a zombie.
- 12. • The advancement of technology and arriving of theories like post modernism the mass people have been accustomed to the idea of i. Dystopian world ii. Mass murder iii. Annihilation iv. Ruled by zombies v. Relation between a living and non living person vi. And it could turn into a happy ending vii. Has become a part of life Thus the changes are being accepted by the audiences.
- 13. • According to Raymond Williams’s concept of social definition of culture the apocalyptic elements( doomed world, zombies, love between R and Julie, chaotic society) has become a particular way of life which expresses meanings and values to the general people and as it has become a common thing now, surely it is reflected on the culture or a movie.