By Kyle William Bishop
Zombie tales are chiefly American, because the creature used to be born within the New global and capabilities as a reminder of the atrocities of colonialism and slavery. The voodoo-based zombie motion pictures of the Thirties and '40s show deep-seated racist attitudes and imperialist paranoia, however the contagious, cannibalistic zombie horde invasion narrative confirmed via George A. Romero has even better singularity. This e-book offers a cultural and important research of the cinematic zombie culture, beginning with its origins in Haitian folklore and monitoring the advance of the subgenre into the twenty-first century. heavily interpreting such influential works as Victor Halperin's White Zombie, Jacques Tourneur's I Walked with a Zombie, Lucio Fulci's Zombi 2, Dan O'Bannon's The go back of the dwelling Dead, Danny Boyle's 28 Days Later, and, after all, Romero's complete "Dead" sequence, it establishes where of zombies within the Gothic culture.
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Additional info for American Zombie Gothic: The Rise and Fall (and Rise) of the Walking Dead in Popular Culture
When recognized in this light, the zombie monster can be seen as truly belonging to the Americas, being built on the relatively new folklore of the Caribbean, and having essential ties to colonialism, slavery, and ancient mysticism. These exceptional characteristics also make an investigation of the anthropological roots of the zombie an essential part of understanding this particular subgenre of horror. Because any analysis of the cinematic zombie must therefore be founded on an investigation into the cultural and mythological origins of the monster itself, the primary task of this chapter is to create a traceable genealogy of the 1— Raising the Living Dead 39 zombie and to attempt to establish the creature’s cultural and ethnographic authenticity.
I also trace the literary origins of the zombie creature through ethnographic texts, such as Seabrook’s travelogue The Magic Island and Zora Neale Hurston’s Tell My Horse (1938), before outlining the manner in which the zom- Introduction 33 bie made its way from the mythologies of the West Indies into the popular ﬁctions of the United States. Chapter 2 investigates how the zombie came to establish itself as part of the Hollywood entertainment industry. I use postcolonial theories — particularly those established by Aimé Césaire, Frantz Fanon, Edward W.
Following a lead established by vampires in their ever-popular narratives, Romero and others have been exploring stories featuring zombies that can think and learn and act on their own desires, and I investigate the ramiﬁcations of Day of the Dead’s single “zombie protagonist” and the zombie-centric storyline at the heart of Land of the Dead. In other words, the recent years of the zombie renaissance have proven that the zombie subgenre will likely continue to be a popular and 36 Introduction important form of horror entertainment — and that the future of the narratives lies in increased zombie subjectivity and the exploration of other contagion narratives.
American Zombie Gothic: The Rise and Fall (and Rise) of the Walking Dead in Popular Culture by Kyle William Bishop