Zombies in Literature
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The zombies seen in modern Western works are often based on medieval European revenants, who were recently deceased individuals rising to harass their families. Later revenant stories involved victims or perpetrators of crimes like murder. The modern zombie genre was influenced by Richard Matheson's novel "I Am Legend" and George A. Romero's film "Night of the Living Dead", which depicted zombies as cannibalistic and nearly unstoppable. Zombie stories can examine issues like racism, consumerism, and military conflicts through the metaphor of a zombie apocalypse.
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- The origins of horror films in the late 19th century with George Melies' short films.
- The rise in popularity and budgets of horror films in the 1960s with films like The Exorcist.
- Common conventions like characters (victims, villains), settings (isolated places), narratives (hero's quest), lighting techniques, and icons.
- Famous directors like William Friedkin, Roman Polanski, and George Romero who helped advance the genre.
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2) Descriptions of common horror subgenres like psychological horror, body horror, and slasher films.
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This document discusses several sub-genres of horror films including: zombie films which portray reanimated corpses or mindless humans; psychological horror which relies on exposing psychological vulnerabilities; gothic horror which combines gothic elements and romance; slasher films which involve a psychopathic killer murdering a sequence of victims; splatter films which focus on graphic violence and gore; comedy horror which combines humor and horror; and body horror which features graphic destruction or abnormality of the human body. Examples are provided for each sub-genre.
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Horror films capture humanity's collective fears and provide communal catharsis by reflecting the ideas and fears of the society in which they were created. While the formula of horror films remains largely the same, the specific monsters and threats change over time to symbolize a culture's dominant anxieties, such as conformity during the McCarthy era as seen in Invasion of the Body Snatchers. Horror has its roots in ancient myths and provides a safe way to confront real fears through symbolic fantasy threats. The genre comments on issues like racism, war, and technology by addressing what troubles a whole society's unconscious.
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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,
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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
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Our fundamental assertion is that there is an irreconcilable tension
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The document discusses various sub-genres of horror films including slasher, supernatural, zombie, monster, teen, and comedy horror. It provides definitions and examples for each sub-genre. Slasher films revolve around a psychopathic killer who violently murders victims. Supernatural horror includes ghosts and demons. Zombie films depict the living dead feasting on humans. Monster movies feature struggles with creatures. Teen horror focuses on teenage issues and Comedy horror mixes comedy with horror themes.
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The gothic horror subgenre as film
Gothic horror originated from Gothic fiction novels of the 1800s, such as Frankenstein and Dracula. It uses elements like desolate landscapes, dark architecture, supernatural occurrences, and characters in danger to create an emotional, visceral response in audiences rather than an intellectual one. Common tropes include ruined abbeys, secret passages, apparitions, and dual worlds representing light and dark. Gothic fiction explores the conflict between subconscious desires and social conventions through the journey of characters between these two worlds.
Gothic horror
Gothic horror originated as a genre combining romance and horror, believed to have been invented by Horace Walpole in 1764. In the 19th century, Gothic literature began being adapted into early horror films like Frankenstein, Dracula, and Dr. Jekyll and Mr. Hyde. The first true horror film was 1896's Le Manoir Du Diable about a demon summoning ghosts and witches. Early 20th century adaptations of Gothic novels increased in length, up to Frankenstein's 1910 16-minute version and Dr. Jekyll and Mr. Hyde's 1913 26-minute film. Dracula's 1931 75-minute adaptation with a $355,000 budget shocked audiences and sold 50,000 tickets in
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The document provides an overview of the horror genre, including:
1) A brief history of horror films from the late 19th century to modern times, noting increasing budgets and popularity in the 1960s with films like The Exorcist.
2) Descriptions of common horror subgenres like psychological horror, body horror, and slasher films.
3) Conventions of the genre including character archetypes, common settings, narrative structures, lighting techniques, and iconography.
4) Details on the target audience, popularity trends, and some influential directors and actors in the horror genre.
Research in to my short horror clip
The document discusses the history and development of horror films. It provides details on some of the earliest horror films and stories from the late 1700s. It then lists several prominent horror film production companies and their previous works. Next, it discusses some major awards for horror films. It concludes by outlining some key features of horror genre films and listing the top 5 highest grossing horror movies of all time.
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The document discusses the genre of horror films. Horror aims to provoke negative emotions and primal fears in viewers by depicting macabre or supernatural scenes. Producers develop ideas by exploring audiences' nightmares and fears of evil forces intruding on everyday life. Some common horror subgenres mentioned include slasher, zombie, psychological horror and more. Saw V is analyzed as an effective horror film through its use of low lighting, masks, and soundtracks to build suspense and play on viewers' fears.
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The document proposes three potential short film ideas:
1) "In the Still of the Night" follows a mafia gathering discussing rumors of a hitman, cutting between the present and past depictions of the hitman's assassinations.
2) "The Hunger Artist" adapts Kafka's short story about a performer who fasts for the public's entertainment until he is no longer appreciated.
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Horror conventions
The document discusses several conventions of horror movies. It begins with a brief history of the genre's origins in the 1920s-1930s, then outlines common subgenres like psychological horror, slasher films, and body horror. It also describes conventional elements like isolated settings, themes of family dysfunction, and character archetypes such as the evil child. Finally, it analyzes the genre through the narrative theories of Todorov and Propp, explaining typical story structures and character roles commonly found in horror movies.
The history of the horror genre
The document outlines the history of the horror genre in film from the 1890s to present day. It discusses the emergence of early horror films in the silent era, the Golden Age of horror in the 1930s-1940s dominated by Universal Studios films, the rise of psychological horror and sci-fi themes in the 1950s-1960s, the popularity of occult and slasher films in the 1970s-1980s, the decline of originality in the 1990s with many sequels, and the modern era characterized by remakes, torture porn franchises, and found footage films made with minimal budgets.
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This document discusses several sub-genres of horror films including: zombie films which portray reanimated corpses or mindless humans; psychological horror which relies on exposing psychological vulnerabilities; gothic horror which combines gothic elements and romance; slasher films which involve a psychopathic killer murdering a sequence of victims; splatter films which focus on graphic violence and gore; comedy horror which combines humor and horror; and body horror which features graphic destruction or abnormality of the human body. Examples are provided for each sub-genre.
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Thesis
This document discusses how horror films reflect societal anxieties and taboos. It argues that slasher films in particular depict the punishment of youth, sexuality, and vice to satisfy audiences' desires and alleviate guilt. While B-movies focus more on gore and spectacle, psychological horror films like Black Swan depict more personal anxieties like mental illness in a way that audiences can relate to on a deeper level. The relationship between horror audiences and what they watch is complex, with audiences deriving satisfaction from witnessing the punishment of characters who indulge in taboos.
Horror films
Horror films capture humanity's collective fears and provide communal catharsis by reflecting the ideas and fears of the society in which they were created. While the formula of horror films remains largely the same, the specific monsters and threats change over time to symbolize a culture's dominant anxieties, such as conformity during the McCarthy era as seen in Invasion of the Body Snatchers. Horror has its roots in ancient myths and provides a safe way to confront real fears through symbolic fantasy threats. The genre comments on issues like racism, war, and technology by addressing what troubles a whole society's unconscious.
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-
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Horror-sub genres.
The document discusses various sub-genres of horror films including slasher, supernatural, zombie, monster, teen, and comedy horror. It provides definitions and examples for each sub-genre. Slasher films revolve around a psychopathic killer who violently murders victims. Supernatural horror includes ghosts and demons. Zombie films depict the living dead feasting on humans. Monster movies feature struggles with creatures. Teen horror focuses on teenage issues and Comedy horror mixes comedy with horror themes.
The Horror Genre An Overview - visit my site www.subversive-horror-films.com
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The Paranormal Alphabet Z Zombies and Creatures of the Undead
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The Horror Genre An Overview - visit my site www.subversive-horror-films.com
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Zombies in Literature
- 1. Mrrhrrahh... AMC The Walking Dead David Hills, BGS
- 2. The zombies we see represented in modern western literature and movies are most often based on the Medieval European revenant. However, unlike the modern zombie apocalypse, a revenant story was usually a very personal tale of the recently dead rising to harass their families and communities. In later stories, revenants became victims or perpetrators of terrible crimes. (Murder, witchcraft and heresy). Many of these tales have much in common with those of vampires. http://www.obsidianportal.com/campaigns/the-space-borne-contagion
- 3. Nachzehrer - German Gjenganger and Draugr - Scandinavian Vetala - Hindu Jiang Shi - Chinese Pontianak – Indonesian and Malay Gashadokuro – Japanese Zombi – Haitian Middle East – Walking Corpses (Bible) Wendigo – Native American
- 5. In more recent times the zombie appeared several times in fantasy themed novels, such as the 1929 book, The Magic Island, by William Seabrook. This novel has been credited with introducing ‘zombi’ into American speech. The grandfather of the modern zombie genre is writer/ director George A. Romero, best known for his series of satirical horror films about zombies or ghouls, starting with Night of the Living Dead, which was inspired by the novel, I am Legend, by Richard Matheson. F-Covers.com
- 6. http://www.youtube.com/watch?v=S1JdPvyy93I Pride & Prejudice & Zombies http://www.youtube.com/watch?v=oBv7cC_qU30 Warm Bodies http://www.youtube.com/watch?v=YQOBc2RYCL4 The Infects http://www.youtube.com/watch?v=uMWDV2rJHKM The Enemy http://www.whatisall.com/entertainment/what-are-zombies.html
- 7. Fear of being eaten - cannibalism. Loss of control and loss of individuality. Becoming one of the herd, or that we already are one of the herd. The monster is Us, but still Other. Both more comfortable and scarier. Slow creeping, inevitable death which does not stop. Nowhere to hide, and no matter how many you destroy... there are always more! http://www.cdc.gov/phpr/zombies.htm#
- 8. Conflict between Science and the Military. Consumerism Class structure Racism Sexism Spawned countless imitators in movies, computer games, novels / graphic novels, music. http://www.myzombiecostumes.com/zombies-zombies-everywhere/zombies-in-the-media/ thoughtsoncinema.com theidiotboxx.wordpress.com johndodge.org
- 9. Allows us to examine these and other scary images and ideas from a safe distance. AMC The Walking Dead
- 10. Books - The Return Man - Warm Bodies - World War Z - This Book is Full of Spiders readschmead.wordpress.com http://www.inner-geek.com/books-comics/this-book-is-full- of-spiders-seriously-dude-dont-click-on-this-link inkfactoryfilms.com www.theage.com.au
- 11. Graphic Novels The Walking Dead Pride and Prejudice and Zombies hazelize.wordpress.com adamkrause.webs.com