While we enjoy watching them, we have an underlying fear of zombies becoming a reality in our own lives. Many people believe that they could be ready for such an event, but you can never be too sure when such chances of survival are against you. Even so, we cannot allow ourselves to lose our sanity and become savages of our own selves. We have to work together to fight them and the virus to save people as fast as possible. Nobody can really know for sure how humanity will react in this type of disaster, but we can make sure that we have the tools and methods to delay or defeat the supernatural forces and find our goals to succeed as a
At the time of its release, Night of the Living Dead (Romero, 1968) was the first film of its kind. The movie was shot on an extremely low budget that utilized limited technology and infinite creativity. As a matter of fact, the creativity that George Romero displayed with this work has shaped many of the concepts that are used in the modern era of film making. The idea of zombies as the world knows them today can be directly correlated to the ones in the movie itself. Likewise, using graphic content the way Romero did was unheard of in this era.
In Chuck Klosterman article, “My Zombie, Myself: Why Modern Life Feels Rather Undead,” he effectively shows the audience by using logos, ethos, and pathos why zombies are so popular. Klosterman uses emotional appeal, creditability, and logic reasoning to show the readers that zombie are popular and why they are like modern life. He excellently illustrates to the reader why zombies are on the widespread and
American culture, particularly within the last century, has morphed and changed with each different crisis. However, there is always a recurrent monster that haunts us: the decrepit zombie. A creature described as fear itself - “... gray-skinned and bloodied, missing a limb … arms reaching out for supple flesh … it hobbles over its own intestines and chatters its decaying teeth” (Crockett, 2016). In a 2016 Vox article, a sociopolitical evaluation of the zombie was observed through American culture; it all starts from 1915 - Haiti gained independence from France, and then the United States occupied the island. An American man, William Seabrook, learned of the voodoo “zombi”, in which Haitians believed those with heavy sin lingered beyond death and became mindless servants. He recorded meeting four “zombies”, slaves employed by American manufacturers and made to work in squalid conditions, but he was ignorant to this and instead noted them as supernatural monsters (Crockett, 2016). Fast forward to 1940s, World War II was emerging, and zombies became an important part of media to expose fears of communist governments and atomic warfare. In the 1960s, the movie Night of the Living Dead which featured “... closing credits of the film are a series of still, grainy images, in which a mob of white Southerners puncture Ben’s lifeless body with meat hooks … final shot
In order to deal with such knowledge, Dawidziak richly displays and details a wide variety of aspects that a fan may not be mindful of. Ultimately, he does this by using aforementioned accounts such as, "...the action-packed fifth-season premiere serves up a bounty of everything you savor about this supernatural series: nerve-jangling suspense, grand gross-outs, intriguing character study, razor-sharp dialogue, heart-thumping action, psychologically riveting moral dilemmas, state-of-the-art monster makeup and scream-inducing special effects." Finally, in order to specifically help those who are not already Walking Dead fans understand and appreciate the review, Dawidziak writes, "For all of the rotting zombies limping through these eerie episodes, this remains a show about human beings constantly struggling to hold on to their humanity. For all of those bone-snapping, flesh-tearing, vein-squishing, skull-smashing special effects, "The Walking Dead" essentially is a drama about what it means to be human . . . under the most desperate of circumstances."
The documentary, Merchants of cool, describes an evolving relationship between the vast teenage population and corporate America. The film provides an in-depth look at the marketing strategies and communication between these groups. Adolescents are shown as learners and adapters of the fast-paced world; they’re constantly exposed to fashions and trends. These young adults have a lot of disposable income and are willing to spend it, in order to gain social popularity. In other words, they are chasing ‘cool’. The corporate giant Viacom, however, faced difficulties marketing to such audience. Stubborn teenagers are unresponsive to conventional marketing messages. By conducting focus groups, researchers have learned that teenagers respond to ‘cool’. Accordingly, the merchandise industry had to embrace new marketing strategies.
Ozog suggests that the media we consume is correlated to "what we believe, fear, and love" (2), and the rise in demand for zombies is connected to our cultures fears and anxieties. To support this, I will discuss the characteristics we fear about zombies, starting with Platt 's idea that zombies represent "the anxieties associated with nuclear radiation and the possibility of an apocalyptic future." (552). In today 's society, we live in a world where we are constantly fearing the potential of a terrorist attack, another world war that will cause many deaths, or even the next big pandemic. Like Birch-Bayley states, zombies act as the standard for western culture 's "crisis mentality" (1137) to express these anxieties. This fear is also reflected in the plot of The Walking Dead when the survivors are fearing for their lives that they will become a zombie as well. They try to do anything they can to prevent the zombie outbreak from getting worse, even if it means killing their own family or friends. This is seen when Jim had to kill his own family because they turned into zombies and were attacking the survivors. His decision to kill those closest to him in order to save himself and the remaining survivors shows how we will do anything to stay alive, no matter how relentless or selfish these decisions can be. Thus, I conclude that the idea of a zombie reflects society 's biggest fears of violent attacks or major pandemic
The zombies in the film seem to retain some memory of their human lives, as they are physically and inexorably attracted to the mall (Bishop 2010: 244). The zombies are drawn there by a subconscious memory; they somehow know they were once happy in such a place. This almost instinctual ‘‘drive to shop’’, as it were, is repeatedly emphasised by Romero, who shows the incompetent creatures pressed up against glass doors and windows, clamouring to get inside the shops and resume their earthly activities of consumption - their addiction for the place exists beyond death (Paffenroth 2006: 57). Dawn of the Dead emphasises the myth of mankind that presents commodities as the supreme goal of existence (Bishop 2010: 246). In a consumerist culture people cannot decide what to purchase, instead social standards decide what direction all have to follow. Individuals even in a state of zombification are looking for self-definition in the shopping mall. The commodity fetishism empowers the capitalist system and allows the individuals to live a utopian fantasy of autonomy (Bishop 2010: 247). People believe that they are free when they buy an object of their desire. However, in a sense they indirectly fall victims of exploitation, which is the purpose of the bourgeoise (Bishop 2010: 247). Just as zombies never satisfy their appetite for human flesh, consumers cannot restrain themselves from buying. People are unconscious of businesses that brain wash with propaganda to exploit consumers into buying merchandise (Bishop 2010: 248). Thus on a purely metonymical level, the zombies represent the existing horrors of a society brainwashed by the capitalistic need to
Ethical challenges are of universal span; many people including police officers are confronted with the opportunities for violating organizational rules and norms daily. Most of the stories about police officers in the media, including Cops and Criminal Minds, are about respectable police officers, but the intense 2001 movie Training Day is not. Alonzo Harris, a veteran police officer with the Los Angeles Police Department (LAPD), is training Jake Hoyt, a rookie officer on his first day with the narcotics unit. Harris’ character is an example of police officers’ potential for corruption. For instance, when Harris misuses the police authority and uses some fake arrest warrant seizing millions of dollars from a former LAPD veteran, now an informant
“Some like it hot” was made in 1959 and directed by Billy Wilder. The story goes about two musicians, Joe and Jerry, who witness a gangster shooting. To save their lives from the gangsters they flee. To make sure they will not be recognised they disguise themselves as women musicians and become Josephine and Daphne. While they are going to Miami in an all-women band, their original plan was to go to Miami and them leave the woman band they decide to stay with them. Where they become more accustomed to being a woman and they even start to use being a woman to their advantage. Judith Butler argues that this movie is just a movies that is meant for entertaining . She also argues that by acting as woman the men confirm the existing gender roles.
It well defines the outlook of the society towards the zombies. It rebukes the concept of modern selfish
In “Our Zombies, Ourselves” author James Parker speaks to moviegoers and monster fans about that slow-moving creature of horror known as the zombie. In the essay, he attempts to uncover the reason for the zombie’s sudden and extreme popularity. To do such a thing he unearths the history of the zombies in film, literature, video games, and other media, and he sheds some light on their real origins – which all lead him to the conclusion that zombies are popular because of their “ex-personhood” (345). Throughout the essay Parker uses analytic language peppered with metaphors, description, and colorful references to some of the latest and greatest depictions of zombies, which help to bring the essay and the monsters to life and keep the audience’s interest.
Zombies are walking dead corpse that is stupid and uncreative. I find it very intriguing on how zombies look. When I picture a zombie all you can think of is blood oozing from their body, body falling apart, and clothes all ripped up. Zombies just look so disgusting. When I see zombies I notice that their eyes are blood shot red, rotten skin, and decaying body parts. Chuck Klosterman says, “You can’t add much depth to a creature who can’t talk, doesn’t think and whose only motive is the consumption of flesh.” Zombies do not have a thought process or think like humans. A zombie whole motive is to just consume human flesh and nothing else. They do not have a purpose at
Evil Dead is a science fiction film and it was written and directed by Sam Raimi and Bruce Campbell. It was release in 1981. The movie opens with five youngsters going on a road trip following a map. They are heading to an old abandoned cabin. The tension starts to build when they cross the weak bridge leading to the cabin because they almost had the car fall under the bridge. A swing chair is at the front of the house swinging on its own. As one of the youngsters approaches the house and takes the keys, the swing chair mysteriously comes to a stop.