@book{abbott_undead_2016, address = {Edinburgh; New York}, title = {Undead {Apocalypse}: {Vampires} and {Zombies} in the 21st {Century}}, isbn = {978-0-7486-9490-7}, abstract = {Twenty-first century film and television is overwhelmed with images of the undead. Vampires and zombies have often been seen as oppositional: one alluring, the other repellant; one seductive, the other infectious. With case studies of films like I Am Legend and 28 Days Later , as well as TV programmes like Angel and The Walking Dead , this book challenges these popular assumptions and reveals the increasing interconnection of undead genres. Exploring how the figure of the vampire has been infused with the language of science, disease and apocalypse, while the zombie text has increasingly been influenced by the trope of the ‘reluctant’ vampire, Stacey Abbott shows how both archetypes are actually two sides of the same undead coin. When considered together they present a dystopian, sometimes apocalyptic, vision of twenty-first century existence.}, language = {English}, publisher = {Edinburgh UP}, author = {Abbott, Stacey}, year = {2016}, keywords = {General} } @incollection{boluk_gray_2011, address = {Jefferson, NC}, title = {Gray {Is} the {New} {Black}: {Race}, {Class}, and {Zombies}}, language = {Englisch}, booktitle = {Generation {Zombie}: {Essays} on the {Living} {Dead} in {Modern} {Culture}}, publisher = {McFarland}, author = {Ahmad, Aalya}, editor = {Boluk, Stephanie and Lenz, Wylie}, month = jun, year = {2011}, keywords = {Capitalism/Class, Postcolonialism/Race}, pages = {130--146} } @article{aizenberg_i_1999, title = {"{I} {Walked} with a {Zombie}": {The} {Pleasures} and {Perils} of {Postcolonial} {Hybridity}}, volume = {73}, issn = {0196-3570}, shorttitle = {"{I} {Walked} with a {Zombie}"}, url = {http://www.jstor.org/stable/40154871}, doi = {10.2307/40154871}, number = {3}, urldate = {2016-05-12}, journal = {World Literature Today}, author = {Aizenberg, Edna}, year = {1999}, keywords = {Postcolonialism/Race}, pages = {461--466} } @article{aldana_reyes_beyond_2014, title = {Beyond the {Metaphor}: {Gay} {Zombies} and the {Challenge} to {Homonormativity}}, volume = {13}, url = {http://www.jcrt.org/archives/13.2/}, number = {2}, urldate = {2016-05-11}, journal = {JCRT: Journal for Cultural and Religious Theory}, author = {Aldana Reyes, Xavier}, year = {2014}, keywords = {Sexuality}, pages = {1--12} } @article{ambrosius_people_2016, title = {“{People} in {Hell} {Want} {Slurpees}”: {The} {Redefinition} of the {Zombie} {Genre} through the {Salvific} {Portrayal} of {Family} on {AMC}'s {The} {Walking} {Dead}}, volume = {83}, issn = {0363-7751}, shorttitle = {“{People} in {Hell} {Want} {Slurpees}”}, url = {http://dx.doi.org/10.1080/03637751.2015.1030683}, doi = {10.1080/03637751.2015.1030683}, abstract = {AMC's popular, post-apocalyptic show The Walking Dead follows a clan of survivors as they endure the zombie apocalypse while struggling to maintain their humanity. The characters pursue temporal salvation through four social institutions: family, government, religion, and science/medicine, identified by a preliminary soak. Through content analysis of dialogueic, visual, and nonverbal references to these institutions across seasons 1–3 (N = 35), we find that each respective season proposed, and then rejected to some extent, the redemptive roles of science, religion, and the state—mirroring actual contemporary distrust. Simultaneously, through persistent, underlying storylines, the show reveals a traditional understanding of the centrality of familial relationships to maintaining a liberal society's survival—which we argue redefines the zombie genre away from its leftist roots.}, number = {1}, urldate = {2016-04-07}, journal = {Communication Monographs}, author = {Ambrosius, Joshua D. and Valenzano III, Joseph M.}, month = jan, year = {2016}, keywords = {Family}, pages = {69--93} } @inproceedings{backe_ludic_2013, title = {Ludic {Zombies}: {An} {Examination} of {Zombieism} in {Games}}, volume = {7}, shorttitle = {Ludic {Zombies}}, url = {http://www.digra.org/digital-library/publications/ludic-zombies-an-examination-of-zombieism-in-games/}, urldate = {2016-02-24}, booktitle = {Proceedings of the 2013 {DiGRA} {International} {Conference}: {DeFragging} {Game} {Studies}, {Atlanta}}, publisher = {Digital Games Research Association (DiGRA)}, author = {Backe, Hans-Joachim and Aarseth, Espen}, year = {2013}, keywords = {Video Games} } @incollection{mcintosh_zombie_2008, address = {Lanham, Md}, title = {Zombie {Splatter} {Comedy} from \textit{{Dawn}} to \textit{{Shaun}}: {Cannibal} {Carnevalesque}}, isbn = {978-0-8108-6043-8}, booktitle = {Zombie {Culture}: {Autopsies} of the {Living} {Dead}}, publisher = {Scarecrow Press}, author = {Badley, Linda}, editor = {McIntosh, Shawn and Leverette, Marc}, year = {2008}, keywords = {Comedy/Carnivalesque}, pages = {35--54} } @book{balaji_thinking_2013, address = {Lanham}, title = {Thinking {Dead}: {What} the {Zombie} {Apocalypse} {Means}}, isbn = {978-0-7391-8382-3}, shorttitle = {Thinking dead}, publisher = {Lexington Books}, editor = {Balaji, Murali}, year = {2013}, keywords = {General} } @incollection{balaji_same_2013, address = {Lanham}, title = {Same as {It} {Ever} {Was}: {Savior} {Narratives} and the {Logics} of {Survival} in \textit{{The} {Walking} {Dead}}}, isbn = {978-0-7391-8382-3}, booktitle = {Thinking {Dead}: {What} the {Zombie} {Apocalypse} {Means}}, publisher = {Lexington Books}, author = {Baldwin, Martina and McCarthy, Mark}, editor = {Balaji, Murali}, year = {2013}, pages = {75--87} } @article{birch-bayley_terror_2012, title = {Terror in {Horror} {Genres}: {The} {Global} {Media} and the {Millennial} {Zombie}}, volume = {45}, copyright = {© 2012, Wiley Periodicals, Inc.}, issn = {1540-5931}, shorttitle = {Terror in {Horror} {Genres}}, url = {http://onlinelibrary.wiley.com/doi/10.1111/jpcu.12001/abstract}, doi = {10.1111/jpcu.12001}, language = {en}, number = {6}, urldate = {2016-04-07}, journal = {The Journal of Popular Culture}, author = {Birch-Bayley, Nicole}, month = dec, year = {2012}, keywords = {Post-9/11 Omnicrisis}, pages = {1137--1151} } @article{bishop_sub-subaltern_2008, title = {The {Sub}-{Subaltern} {Monster}: {Imperialist} {Hegemony} and the {Cinematic} {Voodoo} {Zombie}}, volume = {31}, copyright = {© 2008, Copyright the Authors. Journal compilation © 2008, Blackwell Publishing, Inc.}, issn = {1542-734X}, shorttitle = {The {Sub}-{Subaltern} {Monster}}, url = {http://onlinelibrary.wiley.com/doi/10.1111/j.1542-734X.2008.00668.x/abstract}, doi = {10.1111/j.1542-734X.2008.00668.x}, language = {en}, number = {2}, urldate = {2016-04-07}, journal = {The Journal of American Culture}, author = {Bishop, Kyle William}, month = jun, year = {2008}, keywords = {Postcolonialism/Race}, pages = {141--152} } @article{bishop_dead_2009, title = {Dead {Man} {Still} {Walking}: {Explaining} the {Zombie} {Renaissance}}, volume = {37}, issn = {0195-6051}, url = {http://dx.doi.org/10.3200/JPFT.37.1.16-25}, doi = {10.3200/JPFT.37.1.16-25}, abstract = {Since the terrorist attacks of September 11, 2001, zombie movies have become more popular than ever, with multiple remakes, parodies, and sequels. This renaissance of the subgenre reveals a connection between zombie cinema and post-9/11 cultural consciousness. Horror films function as barometers of society's anxieties, and zombie movies represent the inescapable realities of unnatural death while presenting a grim view of the modern apocalypse through scenes of deserted streets, piles of corpses, and gangs of vigilantes—images that have become increasingly common and can shock and terrify a population that has become numb to other horror subgenres.}, number = {1}, urldate = {2016-02-29}, journal = {Journal of Popular Film and Television}, author = {Bishop, Kyle William}, month = apr, year = {2009}, keywords = {General}, pages = {16--25} } @book{bishop_american_2010, address = {Jefferson, N.C.}, title = {American {Zombie} {Gothic}: {The} {Rise} and {Fall} (and {Rise}) of the {Walking} {Dead} in {Popular} {Culture}}, isbn = {978-0-7864-4806-7 0-7864-4806-7}, shorttitle = {American {Zombie} {Gothic}}, abstract = {"This book provides a cultural and critical analysis of the cinematic zombie tradition. Closely examining influential works Victor Halperin's White Zombie, Jacques Tourneur's I Walked with a Zombie, Lucio Fulci's Zombi 2, Dan O'Bannon's The Return of the Living Dead, Danny Boyle's 28 Days Later, and, of course, Romero's entire "Dead" series, it establishes Zombies in Gothic tradition"--Provided by publisher.}, language = {English}, publisher = {McFarland \& Co.}, author = {Bishop, , Kyle William}, year = {2010}, keywords = {General} } @incollection{bishop_introduction:_2010, address = {Jefferson, N.C.}, title = {Introduction: {The} {Zombie} {Film} and {Its} {Cycles}}, isbn = {978-0-7864-4806-7 0-7864-4806-7}, abstract = {"This book provides a cultural and critical analysis of the cinematic zombie tradition. Closely examining influential works Victor Halperin's White Zombie, Jacques Tourneur's I Walked with a Zombie, Lucio Fulci's Zombi 2, Dan O'Bannon's The Return of the Living Dead, Danny Boyle's 28 Days Later, and, of course, Romero's entire "Dead" series, it establishes Zombies in Gothic tradition"--Provided by publisher.}, language = {English}, booktitle = {American {Zombie} {Gothic}: {The} {Rise} and {Fall} (and {Rise}) of the {Walking} {Dead} in {Popular} {Culture}}, publisher = {McFarland \& Co.}, author = {Bishop, , Kyle William}, year = {2010}, keywords = {General}, pages = {9--36} } @article{bishop_idle_2010, title = {The {Idle} {Proletariat}: \textit{{Dawn} of the {Dead}}, {Consumer} {Ideology}, and the {Loss} of {Productive} {Labor}}, volume = {43}, shorttitle = {The idle proletariat}, url = {http://onlinelibrary.wiley.com/doi/10.1111/j.1540-5931.2010.00739.x/full}, number = {2}, urldate = {2016-02-24}, journal = {The Journal of Popular Culture}, author = {Bishop, Kyle William}, year = {2010}, keywords = {Capitalism/Class, Consumerism}, pages = {234--248} } @book{bishop_how_2015, address = {Jefferson, NC}, series = {Contributions to zombie studies}, title = {How {Zombies} {Conquered} {Popular} {Culture}: {The} {Multifarious} {Walking} {Dead} in the 21st {Century}}, isbn = {978-0-7864-9541-2}, shorttitle = {How zombies conquered popular culture}, abstract = {"Zombies have become allegorical figures embodying cultural anxieties, but they also serve as models for concepts in economics, political theory, neuroscience, psychology, computer science and astronomy. This critical examination of the 21st century zombie phenomenon explores how and why the public imagination has been overrun by the undead horde"--}, publisher = {McFarland}, author = {Bishop, Kyle William}, year = {2015}, keywords = {General} } @article{boluk_infection_2010, title = {Infection, {Media}, and {Capitalism}: {From} {Early} {Modern} {Plagues} to {Postmodern} {Zombies}}, volume = {10}, issn = {1553-3786}, shorttitle = {Infection, {Media}, and {Capitalism}}, url = {https://muse.jhu.edu/journals/journal_for_early_modern_cultural_studies/v010/10.2.boluk.html}, abstract = {This essay examines the shift in fictional representations of plague and viral infection in relation to technological, medial, and economic developments. Ben Jonson's play The Alchemist and Daniel Defoe's novel A Journal of the Plague Year revolve around historical visitations of plague in London. This study takes London as its constant variable; the city governs our choice of texts. They negotiate anxieties of the early modern era as mercantilism gives way to the process of accumulation tied to the developing free market as theorized by classical political economy. Two recent motion pictures, set during fictional London outbreaks, display a similar preoccupation with transforming economic spaces. In these texts, however, the relatively young figure of the viral zombie stands in place of and performs a function similar to the more venerable plague. Shaun of the Dead and 28 Days Later both serve as vehicles for expression of the ever-accelerating viral nature of global capitalism. By adopting a transhistorical approach, we demonstrate the relationship between media and plague that emerges, as the fact of infection generates not only a surrounding rhetoric of plague but also a veritable plague of rhetorics. In keeping with recent plague scholarship, this approach emphasizes the close kinship between plague and textuality by treating plague as a text to be read on the individual and political body and the structure of plague writing itself as a mirror of its subject, proliferating with a serial contagiousness.}, number = {2}, urldate = {2016-03-07}, journal = {Journal for Early Modern Cultural Studies}, author = {Boluk, Stephanie and Lenz, Wylie}, year = {2010}, note = {{\textless}p{\textgreater}Volume 10, Number 2, Fall/Winter 2010{\textless}/p{\textgreater}}, keywords = {Capitalism/Class}, pages = {126--147} } @book{boluk_generation_2011, address = {Jefferson, NC}, title = {Generation {Zombie}: {Essays} on the {Living} {Dead} in {Modern} {Culture}}, shorttitle = {Generation {Zombie}}, language = {Englisch}, publisher = {McFarland}, editor = {Boluk, Stephanie and Lenz, Wylie}, month = jun, year = {2011}, keywords = {General} } @incollection{boon_ontological_2007, address = {Amsterdam et al.}, title = {Ontological {Anxiety} {Made} {Flesh}: {The} {Zombie} in {Literature}, {Film} and {Culture}}, booktitle = {Monsters and the {Monstrous}: {Myths} and {Metaphors} of {Enduring} {Evil}}, publisher = {Rodopi}, author = {Boon, Kevin Alexander}, editor = {Scott, Niall}, year = {2007}, pages = {33--43} } @incollection{phillips_zombie_2010, address = {London; New York}, title = {Zombie {London}: {Unexceptionalities} of the {New} {World} {Order}}, isbn = {978-1-4411-0682-7}, language = {en}, booktitle = {London {Gothic}: {Place}, {Space} and the {Gothic} {Imagination}}, publisher = {Continuum}, author = {Botting, Fred}, editor = {Phillips, Lawrence and Witchard, Anne}, month = nov, year = {2010}, keywords = {Post-9/11 Omnicrisis}, pages = {153--171} } @article{boyer_zombies_2014, title = {Zombies {All}! {The} {Janus}-{Faced} {Zombie} of the {Twenty}-first {Century}}, volume = {47}, issn = {00223840}, url = {http://search.ebscohost.com/login.aspx?direct=true&db=s3h&AN=100487779&site=ehost-live}, abstract = {The article discusses the representation of zombies in mass media in the 21st century, focusing on how the zombies reflect the anxieties and fears of society in the 21st century. Other topics include society's fears of infection, encroachment, and dehumanization, how zombie narratives reflect conflict between civilizations and political violence against the perceived other, and how zombies have been represented outside of Western civilization.}, number = {6}, urldate = {2015-12-12}, journal = {Journal of Popular Culture}, author = {Boyer, Eric}, month = dec, year = {2014}, pages = {1139--1152} } @incollection{brayton_migrant_2012, address = {Rotterdam}, series = {Transgressions}, title = {The {Migrant} {Monsters} of {Multiculturalism} in {Andrew} {Currie}’s \textit{{Fido}}}, copyright = {©2012 Sense Publishers}, isbn = {978-94-6091-894-0}, url = {http://link.springer.com/chapter/10.1007/978-94-6091-894-0_16}, abstract = {On June 9, 2008, the Canadian House of Commons passed an amendment to the Immigrant and Refugee Protection Act. Titled Bill C-50, the amendment shifts discretionary powers from Parliament to current and future immigration and citizenship ministers. Touted by the Conservative Party as an expedient remedy to the 900,000-applicant backlog and an estimated labour shortage of 300,000, Bill C- 50 raised immediate concerns within immigrant and activist communities (CBC News, 2008). Critics contend that the bill caters to the interests of Canadian employers and business lobbyists in its provision of “disposable” and inexpensive labour, while “family” and “refugee” applications may be deferred indefinitely and without recourse. In some ways, the changes under Bill C-50 are redolent of the Live-in Caregiver Program in Canada as well as the Bracero Program (1942-1964), Guest Worker legislation and H-2A initiatives in the US, all of which offered temporary visas to migrant workers but resembled what Gilbert Gonzalez calls “an imperialist schema of colonial labour” (2006, p. 2). Whereas government policies in North America continue to reduce migrants to economic figures, other conservative discourses depict migrants as self-identical foreigners who flood the economy with cheap labour, deplete welfare resources reserved for “native”citizens and present a possible threat of terror in the “post-9/11” era. If “the socalled invasion of immigrants is the exaggerated rhetoric” of political pundits, however, “the increase in global migration within and from Third World countries is real” (Bakan and Stasiulis, 1997b, p. 30).}, language = {en}, number = {84}, urldate = {2016-04-07}, booktitle = {Precarious {International} {Multicultural} {Education}: {Hegemony}, {Dissent} and {Rising} {Alternatives}}, publisher = {Sense Publishers}, author = {Brayton, Sean}, editor = {Wright, Handel Kashope and Singh, Michael and Race, Richard}, year = {2012}, note = {DOI: 10.1007/978-94-6091-894-0\_16}, pages = {297--314} } @article{brooks_importance_2014, title = {The {Importance} of {Neglected} {Intersections}: {Race} and {Gender} in {Contemporary} {Zombie} {Texts} and {Theories}}, volume = {47}, issn = {1945-6182}, shorttitle = {The {Importance} of {Neglected} {Intersections}}, url = {https://muse.jhu.edu/journals/african_american_review/v047/47.4.brooks.html}, number = {4}, urldate = {2016-02-22}, journal = {African American Review}, author = {Brooks, Kinitra D.}, year = {2014}, keywords = {Gender, Postcolonialism/Race}, pages = {461--475} } @incollection{davis_living_2010, address = {Oxford}, title = {Living {Appendages} of the {Machine}: {Reproducing} {Sex} and {Gender} in {Cyborg} and {Zombie} {Narratives}, from \textit{{Battlestar} {Galactica}} to \textit{{The} {Walking} {Dead}}}, isbn = {978-1-84888-033-7}, booktitle = {The {Monster} {Imagined}: {Humanity}'s {Recreation} of {Monsters} and {Monstrosity}}, publisher = {Inter-Disciplinary}, author = {Burcar, Jillian}, editor = {Davis, Laura K. and Santos, Cristina}, year = {2010}, keywords = {Gender, Sexuality}, pages = {97--108} } @article{cameron_zombie_2012, title = {Zombie {Media}: {Transmission}, {Reproduction}, and the {Digital} {Dead}}, volume = {52}, shorttitle = {Zombie media}, url = {http://muse.jhu.edu/journals/cinema_journal/v052/52.1.cameron.html}, number = {1}, urldate = {2016-05-12}, journal = {Cinema Journal}, author = {Cameron, Allan}, year = {2012}, pages = {66--89} } @article{canavan_we_2010, title = {"{We} {Are} the {Walking} {Dead}": {Race}, {Time}, and {Survival} in {Zombie} {Narrative}}, volume = {51}, shorttitle = {"{We} {Are} the {Walking} {Dead}"}, url = {http://search.proquest.com/openview/a17770cc90abbfb20b60ab222b994b58/1?pq-origsite=gscholar}, number = {3}, urldate = {2016-01-13}, journal = {Extrapolation}, author = {Canavan, Gerry}, year = {2010}, keywords = {Postcolonialism/Race}, pages = {431--453} } @article{canavan_fighting_2011, title = {Fighting a {War} {You}'ve {Already} {Lost}: {Zombies} and {Zombis} in {Firefly}/{Serenity} and {Dollhouse}}, volume = {4}, issn = {1754-3770}, shorttitle = {Fighting a war you've already lost}, url = {http://online.liverpooluniversitypress.co.uk/doi/abs/10.3828/sfftv.2011.12}, doi = {10.3828/sfftv.2011.12}, abstract = {This article explores the use of zombie imagery in two sf narratives created by Joss Whedon: Firefly (US 2002–3), Serenity (US 2005) and Dollhouse (US 2009–10). The translation of the zombie from its traditional horror-movie context to the far-future space opera of Firefly/Serenity and the near-future cyberpunk of Dollhouse reveals the zombie's allegorisation of the consequences of biopolitical governmentality and neoliberal capitalism. In both series zombies function as a figure for both the dehumanisation caused by state and market forces and the possibility of Utopian resistance to these forces.}, number = {2}, urldate = {2016-03-24}, journal = {Science Fiction Film \& Television}, author = {Canavan, Gerry}, month = jan, year = {2011}, pages = {173--203} } @article{carpenter_dead_2013, title = {Dead in {Tune}: {Uncanny} {Muzak}® in \textit{{Dawn} of the {Dead}}}, volume = {46}, shorttitle = {Dead in {Tune}}, url = {http://onlinelibrary.wiley.com/doi/10.1111/jpcu.12086/full}, number = {6}, urldate = {2016-05-12}, journal = {The Journal of Popular Culture}, author = {Carpenter, Alexander}, year = {2013}, pages = {1231--1252} } @inproceedings{carr_textual_2009, title = {Textual {Analysis}, {Digital} {Games}, {Zombies}}, volume = {5}, url = {http://www.digra.org/digital-library/publications/textual-analysis-digital-games-zombies/}, urldate = {2016-02-24}, booktitle = {Proceedings of the 2009 {DiGRA} {International} {Conference}: {Breaking} {New} {Ground}: {Innovation} in {Games}, {Play}, {Practice} and {Theory}}, publisher = {Digital Games Research Association (DiGRA)}, author = {Carr, Diane}, year = {2009}, keywords = {Video Games} } @book{carrington_generation_2015, address = {Singapore; Heidelberg}, title = {Generation {Z}: {Zombies}, {Popular} {Culture} and {Educating} {Youth}}, isbn = {978-981-287-934-9}, shorttitle = {Generation {Z}}, abstract = {This book argues that the mythic figure of the zombie, so prevalent and powerful in contemporary culture, provides the opportunity to explore certain social models – such as ‘childhood’ and ‘school’, ‘class’ and ‘family’ – that so deeply underpin educational policy and practice as to be rendered invisible. It brings together authors from a range of disciplines to use contemporary zombie typologies – slave, undead, contagion – to examine the responsiveness of everyday practices of schooling such as literacy, curriculum and pedagogy to the new contexts in which children and young people develop their identities, attitudes to learning, and engage with the many publics that make up their everyday worlds.}, language = {en}, publisher = {Springer}, editor = {Carrington, Victoria and Rowsell, Jennifer and Priyadharshini, Esther and Westrup, Rebecca}, month = dec, year = {2015}, keywords = {General} } @article{caughey_zombie_2015, title = {"{A} {Zombie} {Novel} with {Brains}": {Bringing} {Genre} to {Life} in the {Classroom}}, volume = {7}, shorttitle = {" {A} {Zombie} {Novel} with {Brains}"}, url = {http://search.ebscohost.com/login.aspx?direct=true&profile=ehost&scope=site&authtype=crawler&jrnl=21503974&AN=101596133&h=oPcCTi0lsaJhgD66Lp342UskqZFeUnC5pd3Xq0nWWVeVXCkP57DBpXkjwFUVrg9HkqIaKSy9zmpqlrLKGFKfvw%3D%3D&crl=c}, number = {3/4}, urldate = {2016-04-07}, journal = {Teaching American Literature}, author = {Caughey, John S.}, year = {2015}, pages = {1--22} } @book{christie_better_2011, address = {New York}, title = {Better {Off} {Dead}: {The} {Evolution} of the {Zombie} as {Post}-{Human}}, isbn = {978-0-8232-3446-2 978-0-8232-3447-9 978-0-8232-3448-6}, shorttitle = {Better off dead}, publisher = {Fordham University Press}, editor = {Christie, Deborah and Lauro, Sarah J.}, year = {2011} } @article{cisney_living_2014, title = {Living in the {Land} of the {Dead}: {George} {Romero}, {Gilles} {Deleuze}, and the {Question} of the {Zombie}}, volume = {13}, url = {http://www.jcrt.org/archives/13.2/}, number = {2}, urldate = {2016-05-11}, journal = {JCRT: Journal for Cultural and Religious Theory}, author = {Cisney, Vernon W.}, year = {2014}, pages = {59--81} } @article{clark_doing_2014, title = {Doing the {Zombie} {Glitch}: {Haptic} {Undeadliness} as a {Political} {Theory}}, volume = {13}, url = {http://www.jcrt.org/archives/13.2/}, number = {2}, urldate = {2016-05-11}, journal = {JCRT: Journal for Cultural and Religious Theory}, author = {Clark, Simon}, year = {2014}, pages = {38--47} } @book{clover_men_2015, title = {Men, {Women}, and {Chain} {Saws}: {Gender} in the {Modern} {Horror} {Film}}, isbn = {978-1-4008-6611-3}, shorttitle = {Men, {Women}, and {Chain} {Saws}}, abstract = {From its first publication in 1992, Men, Women, and Chain Saws has offered a groundbreaking perspective on the creativity and influence of horror cinema since the mid-1970s. Investigating the popularity of the low-budget tradition, Carol Clover looks in particular at slasher, occult, and rape-revenge films. Although such movies have been traditionally understood as offering only sadistic pleasures to their mostly male audiences, Clover demonstrates that they align spectators not with the male tormentor, but with the females tormented—notably the slasher movie’s "final girls"—as they endure fear and degradation before rising to save themselves. The lesson was not lost on the mainstream industry, which was soon turning out the formula in well-made thrillers. Including a new preface by the author, this Princeton Classics edition is a definitive work that has found an avid readership from students of film theory to major Hollywood filmmakers.}, language = {en}, publisher = {Princeton University Press}, author = {Clover, Carol J.}, month = may, year = {2015} } @incollection{smith_reclaiming_2011, address = {Ottawa}, title = {Reclaiming {Public} {Spaces} through {Performance} of the {Zombie} {Walk}}, isbn = {978-0-7766-0770-2}, abstract = {Think you know a thing or two about zombies? Think again. If you’re going to keep your wits – and your brains – about you during a zombie attack, you need expert advice. Braaaiiinnnsss!: From Academics to Zombies gathers together an irreverent group of scholars and writers to take a serious look at how zombies threaten almost every aspect of our lives. Spawned from the viral publication "When Zombies Attack!: Mathematical Modelling of an Outbreak of Zombie Infection," this multidisciplinary book draws on a variety of fields including biology, history, law, gender studies, archaeology, library science and landscape architecture. Part homage to zombie films and fiction, part cultural study, this collection humorously explores our deep-seated fear of the undead. Engaging and accessible, Braaaiiinnnnssss! will amuse academics and zombie fans alike.}, language = {English}, booktitle = {Braaaiiinnnsss!: {From} {Academics} to {Zombies}}, publisher = {University of Ottawa Press}, author = {Cocarla, Sasha}, editor = {Smith, Robert J.}, year = {2011}, pages = {113--132} } @incollection{mcglotten_love_2014, address = {Jefferson, NC}, series = {Contributions to zombie studies}, title = {A {Love} {Worth} {Un}-{Undying} {For}: {Neoliberalism} and {Queered} {Sexuality} in \textit{{Warm} {Bodies}}}, isbn = {978-0-7864-7907-8}, url = {https://katalogplus.ub.uni-bielefeld.de/title/2412906}, abstract = {"Since the early 2000s, zombies have increasingly swarmed the landscape of popular culture. A growing number of zombie narratives have introduced sexual themes, endowing the living dead with their own sexual identity. The unpleasant idea of the sexual zombie is itself provocative, triggering questions about the nature of desire, sex, sexuality, and the politics of sexual behaviors"--}, booktitle = {Zombies and {Sexuality}: {Essays} on {Desire} and the {Living} {Dead}}, publisher = {McFarland}, author = {Cocarla, Sasha}, editor = {McGlotten, Shaka and Jones, Steve}, year = {2014}, pages = {52--72} } @article{coker_dying_2013, title = {Dying to {Fight}: {Some} {Reflections} on {Zombies} and {War}}, volume = {1}, issn = {2050-2982}, shorttitle = {Dying to fight}, url = {http://www.palgrave-journals.com/ipr/journal/v1/n2/full/ipr201313a.html}, doi = {10.1057/ipr.2013.13}, abstract = {Zombie literature/films tell us much more about contemporary war than we imagine. This article explains why zombies reflect the spirit of the times. In the asymmetrical wars we now fight, and the risk management strategies we pursue, we can learn much from our greatest enemy, ourselves brought back to life.}, language = {en}, number = {2}, urldate = {2015-12-17}, journal = {International Politics Reviews}, author = {Coker, Christopher}, month = dec, year = {2013}, pages = {91--99} } @article{comaroff_alien-nation:_2003, title = {Alien-{Nation}: {Zombies}, {Immigrants}, and {Millennial} {Capitalism}}, volume = {101}, shorttitle = {Alien-nation}, url = {http://muse.jhu.edu/journals/south_atlantic_quarterly/v101/101.4comaroff.html}, number = {4}, urldate = {2016-02-26}, journal = {The South Atlantic Quarterly}, author = {Comaroff, Jean and Comaroff, John L.}, year = {2003}, pages = {779--805} } @book{curran_encyclopedia_2006, address = {Franklin Lakes, N.J}, title = {Encyclopedia of the {Undead}: {A} {Field} {Guide} to {Creatures} {That} {Cannot} {Rest} in {Peace}}, isbn = {1-56414-841-6}, shorttitle = {Encyclopedia of the {Undead}}, publisher = {New Page Books}, author = {Curran, Bob}, year = {2006} } @book{davis_monster_2010, address = {Oxford}, title = {The {Monster} {Imagined}: {Humanity}'s {Recreation} of {Monsters} and {Monstrosity}}, isbn = {978-1-84888-033-7}, shorttitle = {The monster imagined}, publisher = {Inter-Disciplinary}, editor = {Davis, Laura K. and Santos, Cristina}, year = {2010} } @book{dellwing_vergemeinschaftung_2015, address = {Wiesbaden}, title = {Vergemeinschaftung in {Zeiten} der {Zombie}-{Apokalypse}}, isbn = {978-3-658-01721-7 978-3-658-01722-4}, url = {http://link.springer.com/10.1007/978-3-658-01722-4}, language = {de}, urldate = {2015-12-04}, publisher = {Springer Fachmedien}, editor = {Dellwing, Michael and Harbusch, Martin}, year = {2015} } @incollection{scott_zombie_2007, address = {Amsterdam}, series = {At the interface, probing the boundaries}, title = {The {Zombie} as {Barometer} of {Cultural} {Anxiety}}, isbn = {978-90-420-2253-9}, language = {eng}, number = {38}, booktitle = {Monsters and the {Monstrous}: {Myths} and {Metaphors} of {Enduring} {Evil}}, publisher = {Rodopi}, author = {Dendle, Peter}, editor = {Scott, Niall}, year = {2007}, pages = {45--57} } @incollection{berberich_rewriting_2015, address = {London}, title = {Rewriting {Popular} {Classics} as {Popular} {Fictions}: {Jane} {Austen}, {Zombies}, {Sex} and {Vampires}}, isbn = {978-1-4411-7201-3 978-1-4411-3431-8}, booktitle = {The {Bloomsbury} {Introduction} to {Popular} {Fiction}}, publisher = {Bloomsbury Academic}, author = {Dew, Ben}, editor = {Berberich, Christine}, year = {2015}, pages = {282--295} } @article{dodds_hollywood_2008, title = {Hollywood and the {Popular} {Geopolitics} of the {War} on {Terror}}, volume = {29}, issn = {0143-6597, 1360-2241}, url = {http://www.tandfonline.com/doi/abs/10.1080/01436590802528762}, doi = {10.1080/01436590802528762}, language = {en}, number = {8}, urldate = {2016-02-20}, journal = {Third World Quarterly}, author = {Dodds, Klaus}, month = dec, year = {2008}, pages = {1621--1637} } @article{dominguez_leiva_linvasion_2010, title = {L’invasion néo-zombie: {Entre} l’abjection, le grotesque et le pathos (2002-2009)}, volume = {23}, issn = {1180-3479, 1916-0976}, shorttitle = {L’invasion néo-zombie}, url = {http://id.erudit.org/iderudit/1003583ar}, doi = {10.7202/1003583ar}, language = {fr}, number = {1}, urldate = {2016-04-07}, journal = {Frontières}, author = {Domínguez Leiva, Antonio}, year = {2010}, pages = {19--25} } @article{doyle_apocalypse_2012, title = {The {Apocalypse} is {Masculine}: {Masculinities} in {Crisis} in {Survivalist} {Film}}, url = {http://sphinx.murdoch.edu.au/~20100408/nass_uat/issue8/pdf/IM8-masculine-feminine-article-02-doyle.pdf}, number = {8: Masculine/Feminine}, urldate = {2016-03-29}, journal = {IM Interactive Media: E-Journal of the National Academy of Screen and Sound}, author = {Doyle, Briohny}, year = {2012} } @book{drezner_theories_2011, address = {Princeton, N.J}, title = {Theories of {International} {Politics} and {Zombies}}, isbn = {978-0-691-14783-3}, abstract = {Drezner looks at how well-known theories from international relations might be applied to a war with zombies. Exploring the plots of popular zombie films, songs, and books, Theories of international politics and zombies predicts realistic scenarios for the political stage in the face of a zombie threat and considers how valid- or how rotten- such scenarios might be}, publisher = {Princeton University Press}, author = {Drezner, Daniel W.}, year = {2011} } @incollection{drogla_weniger_2013, address = {Marburg}, title = {Weniger {Dschungel}, mehr {Fleisch}: {Der} {Zombie} als kannibalische {Metapher}}, language = {de}, booktitle = {Vom {Fressen} und {Gefressenwerden}. {Filmische} {Rezeption} und {Re}-{Inszenierung} des wilden {Kannibalen}}, publisher = {Tectum}, author = {Drogla, Paul}, editor = {Drogla, Paul}, year = {2013}, pages = {79--81} } @incollection{elliott-smith_death_2014, address = {London; New York}, title = {‘{Death} is the {New} {Pornography}!’: {Gay} {Zombies}, {Homonormativity} and {Consuming} {Masculinity} in {Queer} {Horror}}, isbn = {978-1-84885-924-1}, booktitle = {Screening the {Undead}: {Vampires} and {Zombies} in {Film} and {Television}}, publisher = {I.B. Tauris}, author = {Elliott-Smith, Darren}, editor = {Hunt, Leon and Lockyer, Sharon and Williamson, Milly}, year = {2014}, pages = {148--172} } @article{emery_zombie_2005, title = {The {Zombie} {In}/{As} the {Text}: {Zora} {Neale} {Hurston}'s "{Tell} {My} {Horse}"}, volume = {39}, issn = {1062-4783}, shorttitle = {The {Zombie} {In}/{As} the {Text}}, url = {http://www.jstor.org/stable/40033667}, number = {3}, urldate = {2016-05-12}, journal = {African American Review}, author = {Emery, Amy Fass}, year = {2005}, pages = {327--336} } @book{farghaly_unraveling_2014, address = {Jefferson, NC}, series = {Contributions to zombie studies}, title = {Unraveling {Resident} {Evil}: {Essays} on the {Complex} {Universe} of the {Games} and {Films}}, isbn = {978-0-7864-7291-8}, shorttitle = {Unraveling {Resident} {Evil}}, abstract = {"Resident Evil is a multidimensional, multimedia universe. The essays written for this volume will focus on this particular zombie manifestation and its significance in popular culture, cover a wide range, and discuss numerous issues. Among them are game theory, the idea of silence as well as memory, the connection to iconic stories, posthumanism and much more"--}, publisher = {McFarland}, editor = {Farghaly, Nadine}, year = {2014} } @incollection{davis_death_2010, address = {Oxford}, title = {Death {Is} {Only} the {Beginning}: {George} {A}. {Romero}’s {Model} of the {Zombie} and {Its} {Threat} to {Identity}}, isbn = {978-1-84888-033-7}, booktitle = {The {Monster} {Imagined}: {Humanity}'s {Recreation} of {Monsters} and {Monstrosity}}, publisher = {Inter-Disciplinary}, author = {Feshami, Kevan A.}, editor = {Davis, Laura K. and Santos, Cristina}, year = {2010}, pages = {85--96} } @article{flavin_watching_2014, title = {The {Watching} {Dead}: {The} {Panoptic} {Gaze} and {Ideologic} {Zombies}}, volume = {13}, url = {http://www.jcrt.org/archives/13.2/}, number = {2}, urldate = {2016-05-11}, journal = {JCRT: Journal for Cultural and Religious Theory}, author = {Flavin, Christopher M.}, year = {2014}, pages = {82--95} } @incollection{fritz_zombie_2006, address = {Köln}, title = {Der {Zombie} im {Zeitalter} seiner technischen {Reproduzierbarkeit}}, language = {de}, booktitle = {Das schlechte {Gewissen} der {Moderne}. {Kulturtheorie} und {Gewaltdarstellung} in {Literatur} und {Film} nach 1968}, publisher = {Böhlau}, author = {Fritz, Jochen}, editor = {Fritz, Jochen and Stewart, Neil}, year = {2006}, pages = {77--98} } @book{furst_untot:_2011, address = {München}, title = {Untot: {Zombie}, {Film}, {Theorie}}, isbn = {978-3-933510-55-6}, shorttitle = {Untot}, language = {ger}, publisher = {Belleville}, editor = {Fürst, Michael and Krautkrämer, Florian and Wiener, Serjoscha}, year = {2011} } @inproceedings{geyser_return_2011, title = {Return to {Darkness}: {Representations} of {Africa} in \textit{{Resident} {Evil} 5}}, volume = {7}, shorttitle = {Return to {Darkness}}, url = {http://www.digra.org/digital-library/publications/return-to-darkness-representations-of-africa-in-resident-evil-5/}, urldate = {2016-02-26}, booktitle = {Proceedings of the 2011 {DiGRA} {International} {Conference}: {Think} {Design} {Play}}, publisher = {Digital Games Research Association (DiGRA)}, author = {Geyser, Hanli and Tshabalala, Pippa}, year = {2011} } @incollection{balaji_return_2013, address = {Lanham}, title = {Return to {Darkness}: {Representations} of {Africa} in \textit{{Resident} {Evil} 5}}, isbn = {978-0-7391-8382-3}, booktitle = {Thinking {Dead}: {What} the {Zombie} {Apocalypse} {Means}}, publisher = {Lexington Books}, author = {Geyser, Hanli}, editor = {Balaji, Murali}, year = {2013}, pages = {63--74} } @incollection{gilmour_living_2011, address = {Jefferson, NC; London}, title = {The {Living} {Word} {Among} the {Living} {Dead}: {Hunting} for {Zombies} in the {Pages} of the {Bible}}, shorttitle = {Porn of the {Dead}}, booktitle = {Zombies {Are} {Us}: {Essays} on the {Humanity} of the {Walking} {Dead}}, publisher = {McFarland}, author = {Gilmour, Michael J.}, editor = {Moreman, Christopher M. and Rushton, Cory James}, year = {2011}, pages = {87--99} } @book{giroux_zombie_2011, title = {Zombie {Politics} and {Culture} in the {Age} of {Casino} {Capitalism}}, isbn = {978-1-4331-1226-3}, abstract = {Zombie Politics and Culture in the Age of Casino Capitalism capitalizes upon the popularity of zombies, exploring the relevance of the metaphor they provide for examining the political and pedagogical conditions that have produced a growing culture of sadism, cruelty, disposability, and death in America. The Zombie metaphor may seem extreme, but it is, particularly apt for drawing attention to the ways in which political culture and power in American society now operate on a level of mere survival. This book uses the metaphor not only to suggest the symbolic face of power: beginning and ending with an analysis of authoritarianism, it attempts to mark and chart the visible registers of a kind of zombie politics, including the emergence of right-wing teaching machines, a growing politics of disposability, the emergence of a culture of cruelty, and the ongoing war being waged on young people, especially on youth of color. By drawing attention to zombie politics and authoritarianism, this book aims to break through the poisonous common sense that often masks zombie politicians, anti-public intellectuals, politics, institutions, and social relations, and bring into focus a new language, pedagogy, and politics in n which the living dead will be moved decisively to the margins rather than occupying the very center of politics and everyday life.}, language = {en}, publisher = {Peter Lang}, author = {Giroux, Henry A.}, year = {2011} } @article{glover_exploiting_2005, title = {Exploiting the {Undead}: {The} {Usefulness} of the {Zombie} in {Haitian} {Literature}}, volume = {11}, issn = {1090-3488}, shorttitle = {Exploiting the {Undead}}, url = {http://www.jstor.org/stable/41715316}, number = {2}, urldate = {2016-05-12}, journal = {Journal of Haitian Studies}, author = {Glover, Kaiama L.}, year = {2005}, pages = {105--121} } @article{gray_feeling_2012, title = {Feeling {Robots} and {Human} {Zombies}: {Mind} {Perception} and the {Uncanny} {Valley}}, volume = {125}, issn = {0010-0277}, shorttitle = {Feeling robots and human zombies}, url = {http://www.sciencedirect.com/science/article/pii/S0010027712001278}, doi = {10.1016/j.cognition.2012.06.007}, abstract = {The uncanny valley—the unnerving nature of humanlike robots—is an intriguing idea, but both its existence and its underlying cause are debated. We propose that humanlike robots are not only unnerving, but are so because their appearance prompts attributions of mind. In particular, we suggest that machines become unnerving when people ascribe to them experience (the capacity to feel and sense), rather than agency (the capacity to act and do). Experiment 1 examined whether a machine’s humanlike appearance prompts both ascriptions of experience and feelings of unease. Experiment 2 tested whether a machine capable of experience remains unnerving, even without a humanlike appearance. Experiment 3 investigated whether the perceived lack of experience can also help explain the creepiness of unfeeling humans and philosophical zombies. These experiments demonstrate that feelings of uncanniness are tied to perceptions of experience, and also suggest that experience—but not agency—is seen as fundamental to humans, and fundamentally lacking in machines.}, number = {1}, urldate = {2016-05-12}, journal = {Cognition}, author = {Gray, Kurt and Wegner, Daniel M.}, month = oct, year = {2012}, pages = {125--130} } @book{greene_zombies_2010, address = {Chicago}, title = {Zombies, {Vampires}, and {Philosophy}: {New} {Life} for the {Undead}}, language = {en}, publisher = {Open Court}, editor = {Greene, Richard and Mohammad, K. Silem}, year = {2010} } @article{gunn_zombie_2005, title = {Zombie {Trouble}: {A} {Propaedeutic} on {Ideological} {Subjectification} and the {Unconscious}}, volume = {91}, issn = {0033-5630, 1479-5779}, shorttitle = {Zombie {Trouble}}, url = {http://www.tandfonline.com/doi/abs/10.1080/00335630500291489}, doi = {10.1080/00335630500291489}, language = {en}, number = {2}, urldate = {2016-02-26}, journal = {Quarterly Journal of Speech}, author = {Gunn, Joshua and Treat, Shaun}, month = may, year = {2005}, pages = {144--174} } @incollection{mcglotten_queering_2014, address = {Jefferson, NC}, series = {Contributions to zombie studies}, title = {Queering and {Cripping} the {End} of {World}: {Disability}, {Sexuality} and {Race} in \textit{{The} {Walking} {Dead}}}, isbn = {978-0-7864-7907-8}, url = {https://katalogplus.ub.uni-bielefeld.de/title/2412906}, abstract = {"Since the early 2000s, zombies have increasingly swarmed the landscape of popular culture. A growing number of zombie narratives have introduced sexual themes, endowing the living dead with their own sexual identity. The unpleasant idea of the sexual zombie is itself provocative, triggering questions about the nature of desire, sex, sexuality, and the politics of sexual behaviors"--}, booktitle = {Zombies and {Sexuality}: {Essays} on {Desire} and the {Living} {Dead}}, publisher = {McFarland}, author = {Hannabach, Cathy}, editor = {McGlotten, Shaka and Jones, Steve}, year = {2014}, pages = {106--122} } @article{harper_i_2007, title = {‘{I} {Could} {Kiss} {You}, {You} {Bitch}’: {Race}, {Gender}, and {Sexuality} in \textit{{Resident} {Evil}} and \textit{{Resident} {Evil} 2: {Apocalypse}}}, volume = {49}, url = {http://www.ejumpcut.org/archive/jc49.2007/HarperResEvil/index.html}, language = {en}, urldate = {2016-04-03}, journal = {Jump Cut: A Review of Contemporary Media}, author = {Harper, Stephen}, year = {2007} } @incollection{link_american_2015, address = {New York}, series = {Cambridge companions to literature}, title = {American {Science} {Fiction} after 9/11}, isbn = {978-1-107-05246-8}, abstract = {"The Cambridge Companion to American Science Fiction explores the relationship between the ideas and themes of American science fiction and their roots in the American cultural experience. Science fiction in America has long served to reflect the country's hopes, desires, ambitions, and fears. The ideas and conventions associated with science fiction are pervasive throughout American film and television, comics and visual arts, games and gaming, and fandom, as well as across the culture writ large. Through essays that address not only the history of science fiction in America but also the influence and significance of American science fiction throughout media and fan culture, this companion serves as a key resource for scholars, teachers, students, and fans of science fiction"--}, booktitle = {The {Cambridge} {Companion} to {American} {Science} {Fiction}}, publisher = {Cambridge University Press}, author = {Higgins, David M.}, editor = {Link, Eric Carl and Canavan, Gerry}, year = {2015}, pages = {44--57} } @article{ho_model_2016, title = {The {Model} {Minority} in the {Zombie} {Apocalypse}: {Asian}-{American} {Manhood} on {AMC}'s \textit{{The} {Walking} {Dead}}}, volume = {49}, copyright = {© 2016 Wiley Periodicals, Inc.}, issn = {1540-5931}, shorttitle = {The {Model} {Minority} in the {Zombie} {Apocalypse}}, url = {http://onlinelibrary.wiley.com/doi/10.1111/jpcu.12376/abstract}, doi = {10.1111/jpcu.12376}, language = {en}, number = {1}, urldate = {2016-03-29}, journal = {The Journal of Popular Culture}, author = {Ho, Helen K.}, month = feb, year = {2016}, pages = {57--76} } @book{hubner_zombie_2015, address = {Houndmills; New York}, title = {The {Zombie} {Renaissance} in {Popular} {Culture}}, isbn = {978-1-137-27649-0}, publisher = {Palgrave Macmillan}, editor = {Hubner, Laura and Leaning, Marcus and Manning, Paul}, year = {2015} } @book{hunt_screening_2014, address = {London ; New York}, title = {Screening the {Undead}: {Vampires} and {Zombies} in {Film} and {Television}}, isbn = {978-0-85773-543-0}, shorttitle = {Screening the undead}, url = {http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=777438}, abstract = {The vampire and the zombie, the two most popular incarnations of the undead, are brought together for a forensic critical investigation in Screening the Undead. Both have a long history in popular fiction, film, television, comics and games; the vampire also remains central to popular culture today, from literary 'paranormal romance' to cult TV and movie franchises - by turns romantic, tortured, grotesque, countercultural, a goth icon or lonely outsider. The zombie can shamble or, nowadays, sprint with alarming velocity, and even dance. It frequently lends itself to metaphor and can stand in.}, language = {English}, urldate = {2016-02-14}, publisher = {I.B. Tauris}, editor = {Hunt, Leon and Lockyer, Sharon and Williamson, Milly}, year = {2014} } @incollection{mcglotten_introduction:_2014, address = {Jefferson, North Carolina}, series = {Contributions to zombie studies}, title = {Introduction: {Zombie} {Sex}}, isbn = {978-0-7864-7907-8}, url = {https://katalogplus.ub.uni-bielefeld.de/title/2412906}, abstract = {"Since the early 2000s, zombies have increasingly swarmed the landscape of popular culture. A growing number of zombie narratives have introduced sexual themes, endowing the living dead with their own sexual identity. The unpleasant idea of the sexual zombie is itself provocative, triggering questions about the nature of desire, sex, sexuality, and the politics of sexual behaviors"--}, booktitle = {Zombies and {Sexuality}: {Essays} on {Desire} and the {Living} {Dead}}, publisher = {McFarland \& Company, Inc., Publishers}, author = {Jones, Steve and McGlotten, Shaka}, editor = {McGlotten, Shaka and Jones, Steve}, year = {2014}, pages = {1--17} } @incollection{jones_porn_2011, address = {Jefferson, NC; London}, title = {Porn of the {Dead}: {Necrophilia}, {Feminism}, and {Gendering} the {Undead}}, shorttitle = {Porn of the {Dead}}, booktitle = {Zombies {Are} {Us}: {Essays} on the {Humanity} of the {Walking} {Dead}}, publisher = {McFarland}, author = {Jones, Steve}, editor = {Moreman, Christopher M. and Rushton, Cory James}, year = {2011}, pages = {40--60} } @incollection{balaji_xxxombies:_2013, address = {Lanham}, title = {{XXXombies}: {Economies} of {Desire} and {Disgust}}, isbn = {978-0-7391-8382-3}, booktitle = {Thinking {Dead}: {What} the {Zombie} {Apocalypse} {Means}}, publisher = {Lexington Books}, author = {Jones, Steve}, editor = {Balaji, Murali}, year = {2013}, pages = {197--214} } @article{jones_gender_2013, title = {Gender {Monstrosity}: \textit{{Deadgirl}} and the {Sexual} {Politics} of {Zombie}-{Rape}}, volume = {13}, issn = {1468-0777, 1471-5902}, shorttitle = {Gender {Monstrosity}}, url = {http://www.tandfonline.com/doi/abs/10.1080/14680777.2012.712392}, doi = {10.1080/14680777.2012.712392}, language = {en}, number = {3}, urldate = {2015-12-17}, journal = {Feminist Media Studies}, author = {Jones, Steve}, month = jul, year = {2013}, pages = {525--539} } @incollection{mcglotten_pretty_2014, address = {Jefferson, NC}, series = {Contributions to zombie studies}, title = {Pretty, {Dead}: {Sociosexuality}, {Rationality} and the {Transition} into {Zom}-{Being}}, isbn = {978-0-7864-7907-8}, url = {https://katalogplus.ub.uni-bielefeld.de/title/2412906}, abstract = {"Since the early 2000s, zombies have increasingly swarmed the landscape of popular culture. A growing number of zombie narratives have introduced sexual themes, endowing the living dead with their own sexual identity. The unpleasant idea of the sexual zombie is itself provocative, triggering questions about the nature of desire, sex, sexuality, and the politics of sexual behaviors"--}, booktitle = {Zombies and {Sexuality}: {Essays} on {Desire} and the {Living} {Dead}}, publisher = {McFarland}, author = {Jones, Steve}, editor = {McGlotten, Shaka and Jones, Steve}, year = {2014}, pages = {180--197} } @article{jones_les_2012, title = {Les zombies, c’est vous}, issn = {0260-9592}, url = {http://www.lrb.co.uk/v34/n02/thomas-jones/les-zombies-cest-vous}, urldate = {2014-07-08}, journal = {London Review of Books}, author = {Jones, Thomas}, month = jan, year = {2012}, pages = {27--28} } @article{joyce_eating_2014, title = {Eating {Time}: {The} {Cultural} {Significance} of the {Zombie} {Apocalypse}}, volume = {41}, shorttitle = {Eating time}, url = {http://search.informit.com.au/documentSummary;dn=247356823868336;res=IELAPA}, abstract = {Although many connect the popularity of zombie apocalypse narratives with terrorism, pandemics, and natural disasters, this paper argues that the cultural significance of the apocalypse genre lies in the rhythm of the cinematic experience. Considering the genre's two archetypal sequences, the chase and the siege, the article argues that the genre offers catharsis for the feeling of being relentlessly harried through a heightened form of the increasing time pressure in modern Western societies.}, urldate = {2016-05-04}, journal = {LiNQ}, author = {Joyce, Stephen}, year = {2014}, pages = {98--111} } @article{keebaugh_better_2013, title = {“{The} {Better} to {Eat} {You}[r {Brains}] {With}, {My} {Dear}”: {Sex}, {Violence}, and \textit{{Little} {Red} {Riding} {Hood}'s {Zombie} {BBQ}} as {Fairy} {Tale} {Recovery} {Project}}, volume = {46}, shorttitle = {“{The} {Better} to {Eat} {You} [r {Brains}] {With}, {My} {Dear}”}, url = {http://onlinelibrary.wiley.com/doi/10.1111/jpcu.12039/full}, number = {3}, urldate = {2016-05-12}, journal = {The Journal of Popular Culture}, author = {Keebaugh, Cari}, year = {2013}, pages = {589--603} } @article{keetley_zombie_2012, title = {Zombie {Evolution}: {Stephen} {King}'s {Cell}, {George} {Romero}'s {Diary} of the {Dead}, and the {Future} of the {Human}}, volume = {11}, url = {http://www.americanpopularculture.com/journal/articles/fall_2012/keetley.htm}, number = {2}, journal = {Americana: The Journal of American Popular Culture, 1900 to Present}, author = {Keetley, Dawn}, year = {2012} } @book{keetley_were_2014, address = {Jefferson, NC}, title = {"{We}'re {All} {Infected}": {Essays} on {AMC}'s \textit{{The} {Walking} {Dead}} and the {Fate} of the {Human}}, isbn = {978-0-7864-7628-2}, shorttitle = {"{We}'re all infected"}, abstract = {"This edited collection brings together an introduction and 13 original scholarly essays on AMC's The Walking Dead. The first group of essays addresses the pervasive bloodletting of the series: What are the consequences of the series' unremitting violence? The second half of the collection explores an equally urgent question: What does it mean to be human?"--}, publisher = {McFarland}, editor = {Keetley, Dawn}, year = {2014} } @article{kelly_zombies_2013, title = {Zombies {Go} to the {Amusement} {Park}: {Entertainment}, {Violence}, and the 21st {Century} {Zombie} in \textit{{Zombieland}} and \textit{{Left} 4 {Dead} 2}}, shorttitle = {Zombies {Go} to the {Amusement} {Park}}, url = {http://search.proquest.com/openview/992ff1d457b96e6e3ce8cae6f408914b/1?pq-origsite=gscholar}, number = {14}, urldate = {2016-05-12}, journal = {Iowa Journal of Cultural Studies}, author = {Kelly, Nicholas M.}, year = {2013}, pages = {83--105} } @book{kirk_zombies_2007, address = {Oxford}, title = {Zombies and {Consciousness}}, language = {en}, publisher = {Oxford University Press}, author = {Kirk, Robert}, year = {2007} } @book{korber_philosophie_2014, address = {Weinheim}, title = {Die {Philosophie} bei \textit{{The} {Walking} {Dead}}}, language = {en}, publisher = {Wiley}, author = {Körber, Joachim}, year = {2014} } @incollection{mcintosh_zombies_2008, address = {Lanham, Md}, title = {Zombies in {Gamespace}: {Form}, {Context}, and {Meaning} in {Zombie}-{Based} {Video} {Games}}, isbn = {978-0-8108-6043-8}, booktitle = {Zombie {Culture}: {Autopsies} of the {Living} {Dead}}, publisher = {Scarecrow Press}, author = {Krzywinska, Tanya}, editor = {McIntosh, Shawn and Leverette, Marc}, year = {2008}, pages = {153--168} } @article{lanci_zombie_2014, title = {Zombie 2.0: {Subjectivation} in {Times} of {Apocalypse}}, volume = {13}, url = {http://www.jcrt.org/archives/13.2/}, number = {2}, urldate = {2016-05-11}, journal = {JCRT: Journal for Cultural and Religious Theory}, author = {Lanci, Yari}, year = {2014}, pages = {25--37} } @article{lanzendorfer_max_2014, title = {Max {Brooks}'s \textit{{World} {War} {Z}: {An} {Oral} {History} of the {Zombie} {War}}: {Conservative} {Armageddon} and {Liberal} {Post}-{Apocalypse}}, volume = {41}, shorttitle = {Max {Brooks}'s '{World} war {Z}}, url = {http://search.informit.com.au/documentSummary;dn=247375456839594;res=IELAPA}, abstract = {'World War Z' (2006) produces a liberal utopian vision of a world in which many of the political problems of the early 2000s have been solved after an apocalyptic event, yet the underlying structures that created those problems are left unaddressed. This article thus argues that 'World War Z' should be read for both its apocalyptic and post-apocalyptic dimensions. In analysing the contributing factors of the apocalyptic scenario as well as its post-apocalyptic aftermath, this reading shows how the novel highlights the limits of a progressive liberal imagination.}, urldate = {2016-04-09}, journal = {LiNQ}, author = {Lanzendörfer, Tim}, year = {2014}, pages = {112--123} } @article{lanzendorfer_politics_2015, title = {The {Politics} of {Genre} {Fiction}: {Colson} {Whitehead}’s \textit{{Zone} {One}}}, volume = {3}, copyright = {In consideration for the publication in the above journal, of the above Contribution, I hereby assign to Gylphi Ltd copyright in the Contribution and in any abstract prepared by me to accompany the Contribution for the full legal term of copyright and any renewals thereof throughout the world in all formats, and through any medium of communication.}, issn = {2045-5224}, shorttitle = {The {Politics} of {Genre} {Fiction}}, url = {https://www.gylphi.co.uk/ojs/index.php/c21/article/view/220}, abstract = {The essay argues that the politics of Colson Whitehead’s zombie novel Zone One (2011) can only be adequately understood through an understanding of its debts to its generic forebears. Suggesting that Zone One offers a utopian solution to what it recognizes as contemporary political and social problems, the essay argues for a dialectical reading of its genre influences as simultaneously permitting recognition of its generic forebears as well as requiring a new appreciation of ‘genre’ texts. It suggests that the contemporary trend towards generically amalgamated fictions should be read as a search for alternative forms of expressing literary politics beyond the social novel.}, language = {en}, number = {1}, urldate = {2016-03-06}, journal = {C21 Literature: Journal of 21st-century Writings}, author = {Lanzendörfer, Tim}, month = jan, year = {2015}, pages = {39--52} } @incollection{boluk_zombies_2011, address = {Jefferson, NC}, title = {Zombies in a “{Deep}, {Dark} {Ocean} of {History}”: {Danny} {Boyle}’s {Infected} and {John} {Wyndham}’s {Triffids} as {Metaphors} of {Postwar} {Britain}}, language = {Englisch}, booktitle = {Generation {Zombie}: {Essays} on the {Living} {Dead} in {Modern} {Culture}}, publisher = {McFarland}, author = {LaRose, Nicole}, editor = {Boluk, Stephanie and Lenz, Wylie}, month = jun, year = {2011}, pages = {165--181} } @article{lauro_zombie_2008, title = {A {Zombie} {Manifesto}: {The} {Nonhuman} {Condition} in the {Era} of {Advanced} {Capitalism}}, volume = {35}, issn = {0190-3659, 1527-2141}, shorttitle = {A {Zombie} {Manifesto}}, url = {http://boundary2.dukejournals.org/cgi/doi/10.1215/01903659-2007-027}, doi = {10.1215/01903659-2007-027}, language = {en}, number = {1}, urldate = {2016-02-26}, journal = {boundary 2}, author = {Lauro, Sarah J. and Embry, Karen}, month = mar, year = {2008}, pages = {85--108} } @book{lauro_transatlantic_2015, address = {New Brunswick, NJ}, title = {The {Transatlantic} {Zombie}: {Slavery}, {Rebellion}, and {Living} {Death}}, isbn = {978-0-8135-7564-3}, shorttitle = {The {Transatlantic} {Zombie}}, abstract = {Our most modern monster and perhaps our most American, the zombie that is so prevalent in popular culture today has its roots in African soul capture mythologies. The Transatlantic Zombie provides a more complete history of the zombie than has ever been told, explaining how the myth’s migration to the New World was facilitated by the transatlantic slave trade, and reveals the real-world import of storytelling, reminding us of the power of myths and mythmaking, and the high stakes of appropriation and homage.  Beginning with an account of a probable ancestor of the zombie found in the Kongolese and Angolan regions of seventeenth-century Africa and ending with a description of the way, in contemporary culture, new media are used to facilitate zombie-themed events, Sarah Juliet Lauro plots the zombie’s cultural significance through Caribbean literature, Haitian folklore, and American literature, film, and the visual arts. The zombie entered US consciousness through the American occupation of Haiti, the site of an eighteenth-century slave rebellion that became a war for independence, thus making the figuration of living death inseparable from its resonances with both slavery and rebellion. Lauro bridges African mythology and US mainstream culture by articulating the ethical complications of the zombie’s invocation as a cultural conquest that was rebranded for the American cinema.  As The Transatlantic Zombie shows, the zombie is not merely a bogeyman representing the ills of modern society, but a battleground over which a cultural war has been fought between the imperial urge to absorb exotic, threatening elements, and the originary, Afro-disaporic culture’s preservation through a strategy of mythic combat.}, language = {en}, publisher = {Rutgers University Press}, author = {Lauro, Sarah J.}, month = jul, year = {2015} } @incollection{donald_london_2009, address = {New York}, title = {London {Undead}: {Screening}/{Branding} the {Empty} {City}}, isbn = {978-1-135-89007-0}, abstract = {Fierce competitiveness between established and emerging major cities, such as Berlin, London, Shanghai and Sydney, has led to a pressure to excel as desirable locations for business, cultural activities, highly skilled migrants and tourists. At the same time, the transformation of settled and new migrant communities creates complex urban borders and variegated representations (academic, cinematic, popular, official) of the city. While cities increasingly deploy cosmopolitan images portraying the diversity of past and present populations and activities, this continues to coexist with parochialism as a mood and mode of cultural formations and a reflection of local specificities. This volume brings together cultural analysts, social scientists, and media and film scholars to explore the ways in which core cities generate competing claims on, and visions of, their use and their future, and thus have engaged with the necessity to brand their image for international consumption and for internal coherence.}, language = {en}, booktitle = {Branding {Cities}: {Cosmopolitanism}, {Parochialism}, and {Social} {Change}}, publisher = {Routledge}, author = {Lindner, Christoph}, editor = {Donald, Stephanie Hemelryk and Kofman, Eleonore and Kevin, Catherine}, month = jan, year = {2009}, pages = {91--104} } @incollection{mcintosh_zombies_2008-1, address = {Lanham, Md}, title = {Zombies without {Organs}: {Gender}, {Flesh}, and {Fissure}}, isbn = {978-0-8108-6043-8}, booktitle = {Zombie {Culture}: {Autopsies} of the {Living} {Dead}}, publisher = {Scarecrow Press}, author = {MacCormack, Patricia}, editor = {McIntosh, Shawn and Leverette, Marc}, year = {2008}, pages = {87--102} } @article{mader_reviving_2002, title = {Reviving the {Dead} in {Southwestern} {PA}: {Zombie} {Capitalism}, the {Non}-{Class} and the {Decline} of the {US} {Steel} {Industry}}, volume = {22}, url = {http://cinema.usc.edu/assets/098/15882.pdf}, number = {2}, urldate = {2016-02-29}, journal = {Spectator (Special Issue Axes to Grind: Re-Imagining the Horrific in Visual Media and Culture)}, author = {Mader, Shannon}, editor = {Harmony, Wu}, year = {2002}, pages = {69--77} } @article{may_zombie_2010, title = {Zombie {Geographies} and the {Undead} {City}}, volume = {11}, issn = {1464-9365, 1470-1197}, url = {http://www.tandfonline.com/doi/abs/10.1080/14649361003637166}, doi = {10.1080/14649361003637166}, language = {en}, number = {3}, urldate = {2016-02-20}, journal = {Social \& Cultural Geography}, author = {May, Jeff}, month = may, year = {2010}, pages = {285--298} } @article{mcalister_slaves_2012, title = {Slaves, {Cannibals}, and {Infected} {Hyper}-{Whites}: {The} {Race} and {Religion} of {Zombies}}, volume = {85}, issn = {1534-1518}, shorttitle = {Slaves, {Cannibals}, and {Infected} {Hyper}-{Whites}}, url = {https://muse.jhu.edu/journals/anthropological_quarterly/v085/85.2.mcalister.html}, doi = {10.1353/anq.2012.0021}, abstract = {The first decade of the new millennium saw renewed interest in popular culture featuring zombies. This essay shows that a comparative analysis of nightmares can be a productive method for analyzing salient themes in the imaginative products and practices of cultures in close contact. It is argued that zombies, as the first modern monster, are embedded in a set of deeply symbolic structures that are a matter of religious thought. The author draws from her ethnographic work in Haiti to argue that the zonbi is at once part of the mystical arts that developed there since the colonial period, and comprises a form of mythmaking that represents, responds to, and mystifies the fear of slavery, collusion with it, and rebellion against it. In turn, some elements of the Haitian zonbi figure can be found in patterns that haunt recent American zombie films. Zombies in these films are read as figures in a parable about whiteness and death-dealing consumption. This essay suggests that the messianic mood surrounding the presidential candidacy of Barack Obama was consistent with a pattern in zombie films since the 1960s where many zombie-killing heroes are figured as black American males. Zombies are used in both ethno-graphic and film contexts to think through the conditions of embodiment, the boundaries between life and death, repression and freedom, and the racialized ways in which humans consume other humans.}, number = {2}, urldate = {2016-02-16}, journal = {Anthropological Quarterly}, author = {McAlister, Elizabeth}, year = {2012}, note = {{\textless}p{\textgreater}Volume 85, Number 2, Spring 2012{\textless}/p{\textgreater}}, pages = {457--486} } @book{mcglotten_zombies_2014, address = {Jefferson, North Carolina}, series = {Contributions to zombie studies}, title = {Zombies and {Sexuality}: {Essays} on {Desire} and the {Living} {Dead}}, isbn = {978-0-7864-7907-8}, shorttitle = {Zombies and sexuality}, url = {https://katalogplus.ub.uni-bielefeld.de/title/2412906}, abstract = {"Since the early 2000s, zombies have increasingly swarmed the landscape of popular culture. A growing number of zombie narratives have introduced sexual themes, endowing the living dead with their own sexual identity. The unpleasant idea of the sexual zombie is itself provocative, triggering questions about the nature of desire, sex, sexuality, and the politics of sexual behaviors"--}, publisher = {McFarland \& Company, Inc., Publishers}, editor = {McGlotten, Shaka and Jones, Steve}, year = {2014} } @article{mcglotten_zombie_2013, title = {Zombie {Porn} 1.0: or, {Some} {Queer} {Things} {Zombie} {Sex} {Can} {Teach} {Us}}, volume = {21}, issn = {1041-8385}, shorttitle = {Zombie {Porn} 1.0}, url = {http://www.jstor.org/stable/10.5250/quiparle.21.2.0101}, doi = {10.5250/quiparle.21.2.0101}, number = {2}, urldate = {2016-05-12}, journal = {Qui Parle}, author = {McGlotten, Shaka and Vangundy, Sarah}, year = {2013}, pages = {101--125} } @article{mcglotten_zombie_2014, title = {Zombie {Porn}: {Necropolitics}, {Sex}, and {Queer} {Socialities}}, volume = {1}, issn = {2326-8743}, shorttitle = {Zombie porn}, url = {http://dx.doi.org/10.1080/23268743.2014.957492}, doi = {10.1080/23268743.2014.957492}, abstract = {This essay examines two gay zombie films by Canadian filmmaker Bruce LaBruce. I look to the ways LaBruce brings together the already intimate genres of horror and porn to paint an ambivalent picture of contemporary gay life and what he calls ‘the death of gay culture’. Zombies and zombie sex are deployed to level an anarcho-punk critique at contemporary queer collusions with necropolitical power. At the same time, explicit scenes of zombie sex gesture toward an always immanent political potentiality lodged within necropolitics. Rather than herald only a dead or failed future, LaBruce's gay zombies express disaffected, impersonal socialities, and especially forms of sex and politics that are deemed retrograde but that paradoxically suggest undead presents and futures. These necropolitical socialities are stubbornly animate, undying efforts that improvise intimate publics appropriate to contemporary precarities.}, number = {4}, urldate = {2015-12-17}, journal = {Porn Studies}, author = {McGlotten, Shaka}, month = oct, year = {2014}, pages = {360--377} } @book{mcintosh_zombie_2008-1, address = {Lanham, Md}, title = {Zombie {Culture}: {Autopsies} of the {Living} {Dead}}, isbn = {978-0-8108-6043-8}, shorttitle = {Zombie culture}, publisher = {Scarecrow Press}, editor = {McIntosh, Shawn and Leverette, Marc}, year = {2008} } @book{metz_wir_2012, address = {Berlin}, title = {Wir {Untote}: Über {Posthumane}, {Zombies}, {Botox}-{Monster} und andere Über- und {Unterlebensformen} in {Life} {Science} \& {Pulp} {Fiction}}, isbn = {978-3-88221-563-2}, url = {https://katalogplus.ub.uni-bielefeld.de/title/2440110}, publisher = {Matthes \& Seitz}, author = {Metz, Markus and Seeßlen, Georg}, year = {2012} } @book{miller_undead_2012, address = {Lanham, MD}, title = {Undead in the {West}: {Vampires}, {Zombies}, {Mummies}, and {Ghosts} on the {Cinematic} {Frontier}}, isbn = {978-0-8108-8544-8}, shorttitle = {Undead in the {West}}, abstract = {In Undead in the West: Vampires, Zombies, Mummies, and Ghosts on the Cinematic Frontier, Cynthia J. Miller and A. Bowdoin Van Riper have assembled a collection of essays that explore the many tropes and themes through which undead Westerns make the genre s inner plagues and demons visible, and lay siege to a frontier tied to myths of strength, ingenuity, freedom, and independence. The volume is divided into three sections: Reanimating Classic Western Tropes examines traditional Western characters, symbolism, and plot devices and how they are given new life in undead Westerns; The Moral Order Under Siege explores the ways in which the undead confront classic values and morality tales embodied in Western films; and And Hell Followed with Him looks at justice, retribution, and retaliation at the hands of undead angels and avenger. The subjects explored here run the gamut from such B films as Curse of the Undead and Billy the Kid vs. Dracula to A-list features like From Dusk til Dawn and Jonah Hex, as well as animated films (Rango) and television programs (The Walking Dead and Supernatural). Other films discussed include Sam Raimi s Bubba Ho-Tep, John Carpenter s Vampires, George Romero s Land of the Dead, and Sergio Leone s Once Upon a Time in the West. Featuring several illustrations and a filmography, Undead in the West will appeal to film scholars, especially those interested in hybrid genres, as well as fans of the Western and the supernatural in cinema."}, language = {en}, publisher = {Scarecrow Press}, editor = {Miller, Cynthia J. and Riper, A. Bowdoin Van}, year = {2012} } @book{miller_undead_2013, address = {Lanham, MD}, title = {Undead in the {West} {II}: {They} {Just} {Keep} {Coming}}, isbn = {978-0-8108-9265-1}, shorttitle = {Undead in the {West} {II}}, abstract = {The undead are back! In Undead in the West: Vampires, Zombies, Mummies, and Ghosts on the Cinematic Frontier, Cynthia J. Miller and A. Bowdoin Van Riper assembled a collection of essays that explored the unique intersection of two seemingly distinct genres in cinema: the western and the horror film. In this new volume, Undead in the West II: They Just Keep Coming, Miller and Van Riper expand their examination of undead Westerns to include not only film, but literature, sequential art, gaming, and fan culture (fan fiction, blogging, fan editing, and zombie walks). These essays run the gamut from comics and graphic novels such as American Vampire, Preacher, and Priest, and games like Darkwatch and Red Dead Redemption, to novels and short stories by celebrated writers including Robert E. Howard, Joe R. Lansdale, and Stephen King. Featuring a foreword by renowned science fiction author William F. Nolan (Logan’s Run) and an afterword by acclaimed game designer Paul O’Connor (Darkwatch), this collection will appeal to scholars of literature, gaming, and popular culture, as well as to fans of this unique hybrid.}, language = {en}, publisher = {Scarecrow Press}, editor = {Miller, Cynthia J. and Riper, A. Bowdoin Van}, month = oct, year = {2013} } @incollection{balaji_necropolitics_2013, address = {Lanham}, title = {The {Necropolitics} of the {Apocalypse}: {Queer} {Zombies} in the {Cinema} of {Bruce} {LaBruce}}, isbn = {978-0-7391-8382-3}, booktitle = {Thinking {Dead}: {What} the {Zombie} {Apocalypse} {Means}}, publisher = {Lexington Books}, author = {Mora, Arnau Roig}, editor = {Balaji, Murali}, year = {2013}, pages = {181--196} } @article{moraru_zombie_2012, title = {Zombie {Pedagogy}: {Rigor} {Mortis} and the {U}. {S}. {Body} {Politic}}, volume = {34}, issn = {0888-5753}, shorttitle = {{ZOMBIE} {PEDAGOGY}}, url = {http://www.jstor.org/stable/23416401}, number = {2}, urldate = {2016-04-07}, journal = {Studies in Popular Culture}, author = {Moraru, Christian}, year = {2012}, pages = {105--127} } @book{moreman_race_2011, address = {Jefferson, NC}, title = {Race, {Oppression} and the {Zombie}: {Essays} on {Cross}-{Cultural} {Appropriations} of the {Caribbean} {Tradition}}, isbn = {978-0-7864-5911-7}, shorttitle = {Race, oppression and the zombie}, abstract = {"This book explores numerous aspects of the zombie phenomenon, from its roots in Haitian folklore, to its evolution on the silver screen, to its most radical transformation during the 1960s countercultural revolution. Contributors examine the zombie and its relationship to colonialism, orientalism, racism, globalism, capitalism and more"--Provided by publisher}, publisher = {McFarland}, editor = {Moreman, Christopher M. and Rushton, Cory J.}, year = {2011} } @book{moreman_zombies_2011, address = {Jefferson, NC; London}, title = {Zombies {Are} {Us}: {Essays} on the {Humanity} of the {Walking} {Dead}}, isbn = {978-0-7864-8808-7}, shorttitle = {Zombies {Are} {Us}}, abstract = {On the surface, the zombie seems the polar opposite of the human--they are the living dead; we, in essence, are the dying alive. But the zombie is also "us." Although decaying, it looks like us, dresses like us, and sometimes (if rarely) acts like us. In this volume, essays by scholars from a range of disciplines examine the zombie as a thematic presence in literature, film, video games, legal language, and philosophy, exploring topics including zombies and the environment, litigation, the afterlife, capitalism, and the erotic. Through this wide-ranging examination of the zombie phenomenon, the authors seek to discover what the zombie can teach us about being human.}, language = {en}, publisher = {McFarland}, editor = {Moreman, Christopher M. and Rushton, Cory J.}, month = sep, year = {2011} } @article{mullen_adorno_2014, title = {Adorno, Žižek and the {Zombie}: {Representing} {Mortality} in an {Age} of {Mass} {Killing}}, volume = {13}, url = {http://www.jcrt.org/archives/13.2/}, number = {2}, urldate = {2016-05-11}, journal = {JCRT: Journal for Cultural and Religious Theory}, author = {Mullen, Gary A.}, year = {2014}, pages = {48--57} } @incollection{schopp_attack_2009, address = {Madison; Teaneck}, title = {Attack of the {Livid} {Dead}: {Recalibrating} {Terror} in the {Post}-{September} 11 {Zombie} {Film}}, isbn = {978-0-8386-4207-8}, abstract = {The War on Terror and American Popular Culture is a collection of original essays by academics and researchers from around the world that examines the complex interrelation between the Bush administration's "War on Terror" and American popular culture. Written by experts in the fields of literature, film, and cultural studies, this book examines in detail how popular culture reflects concerns and anxieties about the September 11 attacks and the war those attacks generated, how it interrogates the individual and collective impacts that war has wrought, how it might challenge or critique current policy, and how it might reinforce or endorse the war and its sociopolitical paradigms.}, language = {en}, booktitle = {The {War} on {Terror} and {American} {Popular} {Culture}: {September} 11 and {Beyond}}, publisher = {Fairleigh Dickinson UP}, author = {Muntean, Nick and Payne, Matthew Thomas}, editor = {Schopp, Andrew and Hill, Matthew B.}, year = {2009}, pages = {239--258} } @article{murray_zombie_2013, title = {A {Zombie} {Apocalypse}: {Opening} {Representational} {Spaces} for {Alternative} {Constructions} of {Gender} and {Sexuality}}, volume = {29}, issn = {0256-4718}, shorttitle = {A {Zombie} {Apocalypse}}, url = {http://dx.doi.org/10.1080/02564718.2013.856659}, doi = {10.1080/02564718.2013.856659}, abstract = {Zombies have become an increasingly common figure in contemporary cultural landscapes around the world and South Africa is no exception. While scholars have tended to shy away from engaging with post-apocalyptic zombie fiction, this has started to change as it became apparent that these texts offer rich possibilities for exploring alternative constructions of gender and sexuality. In the aftermath of an apocalypse, most forms of social organisation and ideological constructions are decimated and survivors are able to imagine new ways of constructing sexual and gender identities as they go about reconstituting their social worlds. By means of a feminist literary analysis of Lily Herne’s Deadlands (2011) and Death of a Saint (2012), this article explores whether these zombie texts successfully capitalise on the post-apocalyptic social ruptures in terms of their representations of gender and sexuality. It emerges that, although the texts do suggest alternative constructions, they also reinscribe and reify traditional patriarchal and heteronormative binaries.}, number = {4}, urldate = {2016-04-07}, journal = {Journal of Literary Studies}, author = {Murray, Jessica}, month = dec, year = {2013}, pages = {1--19} } @article{nagypal_classical_2014, title = {From the {Classical} \textit{{Polis}} to the {Neoliberal} {Camp}: {Mapping} the {Biopolitical} {Regimes} of the {Undead} in \textit{{Dawn} of the {Dead}}, \textit{{Zombi} 2} and \textit{28 {Days} {Later}}}, volume = {13}, url = {http://www.jcrt.org/archives/13.2/}, number = {2}, urldate = {2016-05-11}, journal = {JCRT: Journal for Cultural and Religious Theory}, author = {Nagypal, Tamas}, year = {2014}, pages = {13--24} } @article{newbury_fast_2012, title = {Fast {Zombie}/{Slow} {Zombie}: {Food} {Writing}, {Horror} {Movies}, and {Agribusiness} {Apocalypse}}, volume = {24}, issn = {0896-7148, 1468-4365}, shorttitle = {Fast {Zombie}/{Slow} {Zombie}}, url = {http://alh.oxfordjournals.org/content/24/1/87}, doi = {10.1093/alh/ajr055}, language = {en}, number = {1}, urldate = {2016-02-26}, journal = {American Literary History}, author = {Newbury, Michael}, month = jan, year = {2012}, pages = {87--114} } @book{newitz_pretend_2006, address = {Durham}, title = {Pretend {We}'re {Dead}: {Capitalist} {Monsters} in {American} {Pop} {Culture}}, isbn = {978-0-8223-3733-1 978-0-8223-3745-4}, shorttitle = {Pretend we're dead}, publisher = {Duke University Press}, author = {Newitz, Annalee}, year = {2006} } @incollection{furst_virale_2011, address = {München}, title = {Virale {Zombifizierung}. “{Who}’s to say we’re not all zombies?”}, isbn = {978-3-933510-55-6}, language = {ger}, booktitle = {Untot: {Zombie}, {Film}, {Theorie}}, publisher = {Belleville}, author = {Nohr, Rolf F.}, editor = {Fürst, Michael and Krautkrämer, Florian and Wiener, Serjoscha}, year = {2011}, pages = {259--272} } @article{nuckolls_walking_2014, title = {\textit{{The} {Walking} {Dead}} as {Conservative} {Cultural} {Critique}}, volume = {13}, url = {http://www.jcrt.org/archives/13.2/}, number = {2}, urldate = {2016-05-11}, journal = {JCRT: Journal for Cultural and Religious Theory}, author = {Nuckolls, Charles}, year = {2014}, pages = {102--110} } @incollection{balaji_zombies_2013, address = {Lanham}, title = {Zombies and the {Modern} {American} {Family}: {Surviving} the {Destruction} of {Traditional} {Society} in \textit{{Zombieland}} (2009)}, isbn = {978-0-7391-8382-3}, booktitle = {Thinking {Dead}: {What} the {Zombie} {Apocalypse} {Means}}, publisher = {Lexington Books}, author = {Ozog, Cassie}, editor = {Balaji, Murali}, year = {2013}, pages = {127--140} } @article{pain_globalized_2009, title = {Globalized {Fear}? {Towards} an {Emotional} {Geopolitics}}, volume = {33}, issn = {0309-1325}, shorttitle = {Globalized fear?}, url = {http://phg.sagepub.com/cgi/doi/10.1177/0309132508104994}, doi = {10.1177/0309132508104994}, language = {en}, number = {4}, urldate = {2016-02-20}, journal = {Progress in Human Geography}, author = {Pain, Rachel}, month = aug, year = {2009}, pages = {466--486} } @book{pain_fear:_2008, title = {Fear: {Critical} {Geopolitics} and {Everyday} {Life}}, isbn = {978-0-7546-4966-3}, shorttitle = {Fear}, abstract = {\&\#39;Fear\&\#39; has greater currency in western societies than ever before. Through scares ranging from cot death, juvenile crime, internet porn, asylum seekers, dirty bombs and avian flu, we are bombarded with messages about emerging risks. In response, patterns of living and working are increasingly regulated. This book takes stock of the range of issues of \&\#39;fear\&\#39; which have come to public and academic attention in recent years, and presents new theoretical arguments and new research findings on fear, covering topics as diverse as the war on terror, the immigration crisis, stranger danger, global disease epidemics and sectarian violence.To date, previous social science engagement with fear has taken two largely separate trajectories: fear in everyday life, and political geographies of fear at global and national levels. This book is the first to put forward a conceptual framework which emphasizes the connections between geopolitics and everyday life. It examines the ways in which fear may be manufactured and manipulated for political purposes and becomes a tool of repression, and charts the association of fear discourses with particular spaces, times and sets of geopolitical relations. But it also highlights the importance and sometimes unpredictability of lived experiences of fear - the many ways in which fear is made sense of, managed, resisted and reshaped, as well as the importance of hope and resistance in everyday life. It relates fear closely to political, economic and social marginalisation at different scales, and explores the more complex social identities and relations of which fear becomes a part.}, language = {en}, publisher = {Ashgate Publishing, Ltd.}, author = {Pain, Rachel and Smith, Susan}, year = {2008} } @article{pegg_dead_2008, chapter = {Film}, title = {The {Dead} and the {Quick}}, issn = {0261-3077}, url = {http://www.theguardian.com/media/2008/nov/04/television-simon-pegg-dead-set}, abstract = {Simon Pegg: Everyone knows the undead don't run - so how come they were sprinting about in Charlie Brooker's recent TV drama?}, language = {en-GB}, urldate = {2015-11-08}, journal = {The Guardian}, author = {Pegg, Simon}, month = nov, year = {2008} } @incollection{boluk_zombies_2011-1, address = {Jefferson, NC}, title = {Zombies as {Internal} {Fear} or {Threat}}, language = {Englisch}, booktitle = {Generation {Zombie}: {Essays} on the {Living} {Dead} in {Modern} {Culture}}, publisher = {McFarland}, author = {Pfaffenroth, Kim}, editor = {Boluk, Stephanie}, month = jun, year = {2011}, pages = {18--26} } @incollection{whitman_monsters_2014, address = {Lanham, MD [et al.]}, title = {Monsters of {Capital}: {Zombies}, {Vampires}, and {Consumerism}}, isbn = {978-1-4422-3503-8}, abstract = {Whether preparing us for economic recovery after the zombie apocalypse, analyzing vampire investment strategies, or illuminating the market forces that affect vampire-human romances, Economics of the Undead: Zombies, Vampires, and the Dismal Science gives both seasoned economists and layman readers something to sink their teeth into. Undead characters have terrified popular audiences for centuries, but when analyzed closely, their behaviors and stories—however farfetched—mirror our own in surprising ways. The essays collected in this book are as humorous as they are thoughtful, as culturally relevant as they are economically sound, and provide an accessible link between a popular culture phenomenon and the key concepts necessary to building one’s understanding of economic systems big and small. It is the first book to apply and combine economics and our society’s fascination with the undead, and is an invaluable resource for those looking to learn economic fundamentals in a fun and innovative way.}, language = {en}, booktitle = {Economics of the {Undead}: {Zombies}, {Vampires}, and the {Dismal} {Science}}, publisher = {Rowman \& Littlefield}, author = {Piatti-Farnell, Lorna}, editor = {Whitman, Glen and Dow, James}, month = jul, year = {2014} } @article{platts_locating_2013, title = {Locating {Zombies} in the {Sociology} of {Popular} {Culture}}, volume = {7}, copyright = {© 2013 John Wiley \& Sons Ltd.}, issn = {1751-9020}, url = {http://onlinelibrary.wiley.com/doi/10.1111/soc4.12053/abstract}, doi = {10.1111/soc4.12053}, abstract = {In this essay, focusing primarily on the cinema of the walking corpse, I provide an overview of zombie studies and suggest potential avenues for sociological inquiry into zombie phenomena. I argue that zombie films, comic books, novels, video games, and the like can be seen as significant cultural objects that reflect and reveal the cultural and material circumstances of their creation. Despite emanating from complex culture-producing institutions and (arguably) capturing extant social anxieties, sociology has remained quiet on zombie phenomena. Issues of significance, history, and definition are discussed. I then locate three avenues of inquiry ideally suited to the sociological toolkit: symptomatic analysis of content, production, and audience response and interaction. I conclude by calling for a multipronged sociological analysis into “zombie culture.”}, language = {en}, number = {7}, urldate = {2016-04-07}, journal = {Sociology Compass}, author = {Platts, Todd K.}, month = jul, year = {2013}, pages = {547--560} } @incollection{pollock_undead_2011, address = {Jefferson, NC; London}, title = {Undead {Is} the {New} {Green}: {Zombies} and {Political} {Ecology}}, shorttitle = {Porn of the {Dead}}, booktitle = {Zombies {Are} {Us}: {Essays} on the {Humanity} of the {Walking} {Dead}}, publisher = {McFarland}, author = {Pollock, Greg}, editor = {Moreman, Christopher M. and Rushton, Cory James}, year = {2011}, pages = {151--168} } @article{ponder_dawn_2012, title = {Dawn of the {Different}: {The} {Mulatto} {Zombie} in {Zack} {Snyder}'s \textit{{Dawn} of the {Dead}}}, volume = {45}, shorttitle = {Dawn of the {Different}}, url = {http://onlinelibrary.wiley.com/doi/10.1111/j.1540-5931.2012.00944.x/full}, number = {3}, urldate = {2016-05-12}, journal = {The Journal of Popular Culture}, author = {Ponder, Justin}, year = {2012}, pages = {551--571} } @incollection{balaji_fight_2013, address = {Lanham}, title = {“{Fight} the {Dead}, {Fear} the {Living}”: {Zombie} {Apocalypse}, {Libertarian} {Paradise}?}, isbn = {978-0-7391-8382-3}, booktitle = {Thinking {Dead}: {What} the {Zombie} {Apocalypse} {Means}}, publisher = {Lexington Books}, author = {Proffitt, Jennifer M. and Templin, Rich}, editor = {Balaji, Murali}, year = {2013}, pages = {29--44} } @book{pulliam_encyclopedia_2014, address = {Santa Barbara, CA}, title = {Encyclopedia of the {Zombie}: {The} {Walking} {Dead} in {Popular} {Culture} and {Myth}}, isbn = {978-1-4408-0389-5}, shorttitle = {Encyclopedia of the {Zombie}}, abstract = {The proliferation of zombie-related fiction, film, games, events, and other media in the last decade would seem to indicate that zombies are "the new vampires" in popular culture. The editors and contributors of Encyclopedia of the Zombie: The Walking Dead in Popular Culture and Myth took on the prodigious task of covering all aspects of the phenomenon, from the less-known historical and cultural origins of the zombie myth to the significant works of film and literature as well as video games in the modern day that feature the insatiable, relentless zombie character.The encyclopedia examines a wide range of significant topics pertaining to zombies, such as zombies in the pulp magazines; the creation of the figure of the zuvembie to subvert decades of censorship by the Comics Code of Authority; Humans vs. Zombies, a popular zombie-themed game played on college campuses across the country; and annual Halloween zombie walks. Organized alphabetically to facilitate use of the encyclopedia as a research tool, it also includes entries on important scholarly works in the expanding field of zombie studies.}, language = {en}, publisher = {ABC-CLIO}, editor = {Pulliam, June Michele and Fonseca, Anthony J.}, month = jun, year = {2014} } @book{rath_zombies_2014, address = {Bielefeld}, series = {Zeitschrift für {Kulturwissenschaften}}, title = {Zombies}, volume = {2014.1}, isbn = {978-3-8376-2689-6}, url = {https://katalogplus.ub.uni-bielefeld.de/title/2437902}, language = {ger}, publisher = {Transcript}, editor = {Rath, Gudrun}, year = {2014} } @incollection{dellwing_untote_2015, address = {Wiesbaden}, title = {Untote und {Spiegel}: {Bilder} des {Anders}-{Seins} in \textit{{The} {Walking} {Dead}}}, isbn = {978-3-658-01721-7 978-3-658-01722-4}, language = {de}, urldate = {2015-12-04}, booktitle = {Vergemeinschaftung in {Zeiten} der {Zombie}-{Apokalypse}}, publisher = {Springer Fachmedien}, author = {Retterath, Gerrit and Tietz, Alessandro}, editor = {Dellwing, Michael and Harbusch, Martin}, year = {2015}, pages = {239--262} } @book{rhodes_white_2001, address = {Jefferson, NC}, title = {\textit{{White} {Zombie}}: {Anatomy} of a {Horror} {Film}}, isbn = {978-1-4766-0491-6}, shorttitle = {White {Zombie}}, abstract = {The 1932 horror film White Zombie starring Bela Lugosi has received controversial attention from film reviewers and scholars--but it is unarguably a cult classic worthy of study. This book analyzes the film text from nearly every possible viewpoint, using both academic and popular film theories. Also supplied is an extensive intellectual history of the predecessor works to White Zombie, as well as information on the significance it carried for subsequent books and films, its theatrical release around the country, its modern cultural influence, and the attempts to restore the film to its original state. Other noteworthy features of this work include an in-depth biography of White Zombie director Victor Halperin, the first complete study of his life and career, and 244 images and photographs.}, language = {en}, publisher = {McFarland}, author = {Rhodes, Gary D.}, month = sep, year = {2001} } @book{richardson_otherness_2010, address = {New York}, title = {Otherness in {Hollywood} {Cinema}}, language = {en}, publisher = {Continuum}, author = {Richardson, Michael}, year = {2010} } @book{rutherford_zombies_2013, address = {London ; New York}, series = {Shortcuts}, title = {Zombies}, isbn = {978-0-415-52447-6 978-0-415-52448-3}, publisher = {Routledge}, author = {Rutherford, Jennifer}, year = {2013} } @article{saunders_undead_2012, title = {Undead {Spaces}: {Fear}, {Globalisation}, and the {Popular} {Geopolitics} of {Zombiism}}, volume = {17}, issn = {1465-0045}, shorttitle = {Undead {Spaces}}, url = {http://dx.doi.org/10.1080/14650045.2010.523097}, doi = {10.1080/14650045.2010.523097}, abstract = {In recent years, zombies have enjoyed a dramatic renaissance in various forms of popular culture. This essay argues that the current obsession with the walking dead, and particularly the looming threat of human-zombie conflicts, is a reflection of the dangers of invasive alterity associated with uncontrolled spaces in a globalised world. This shift is especially prevalent in the United States following 9/11, as zombies have become phantasmal stand-ins for Islamist terrorists, illegal immigrants, carriers of foreign contagions, and other ‘dangerous’ border crossers. Through three case studies which examine zombie ‘outbreaks’ on the local, national, and global levels, respectively, I discuss the importance of borders and geopolitical spaces in recent fictional depictions of human-zombie conflicts. As metaphors for illicit globalisation, zombies have emerged as a key pop-culture referent of the porous nature of socio-cultural, political, and physical boundaries in a global age defined by an emotional geopolitics of fear.}, number = {1}, urldate = {2016-01-20}, journal = {Geopolitics}, author = {Saunders, Robert A.}, month = jan, year = {2012}, pages = {80--104} } @incollection{dellwing_verhandelte_2015, address = {Wiesbaden}, title = {Das verhandelte {Monster}: {Die} {Zugehörigkeit} des fantastischen {Anderen}}, isbn = {978-3-658-01721-7 978-3-658-01722-4}, language = {de}, urldate = {2015-11-23}, booktitle = {Vergemeinschaftung in {Zeiten} der {Zombie}-{Apokalypse}}, publisher = {Springer}, author = {Schad, Nina and Vreca, Marc-André}, editor = {Dellwing, Michael and Harbusch, Martin}, year = {2015}, pages = {215--238} } @incollection{furst_mit_2011, address = {München}, title = {Mit den {Untoten} leben: {Sozietäten} im {Zombie}-{Invasionsfilm}}, isbn = {978-3-933510-55-6}, language = {ger}, booktitle = {Untot: {Zombie}, {Film}, {Theorie}}, publisher = {Belleville}, author = {Schätz, Joachim}, editor = {Fürst, Michael and Krautkrämer, Florian and Wiener, Serjoscha}, year = {2011}, pages = {45--64} } @article{schneider_it_2012, title = {It {Seems} {As} {If}… {I} {Am} {Dead}: {Zombie} {Capitalism} and {Theatrical} {Labor}}, volume = {56}, issn = {1054-2043}, shorttitle = {It {Seems} {As} {If}…{I} {Am} {Dead}}, url = {http://dx.doi.org/10.1162/DRAM_a_00220}, doi = {10.1162/DRAM_a_00220}, abstract = {Reading the zombie marches of the Occupy Wall Street movement beside a 2011 production of Ibsen's play John Gabriel Borkman raises questions about theatrical labor in neoliberal capitalism. What happens when “dead labor” plays live onstage? Or when live protest actions are played across the living dead? Perhaps the answers can be found in considering economic precarity and precarity in/as performance together.}, number = {4}, urldate = {2016-05-12}, journal = {TDR/The Drama Review}, author = {Schneider, Rebecca}, month = nov, year = {2012}, pages = {150--162} } @article{schneider_monsters_1999, title = {Monsters as ({Uncanny}) {Metaphors}: {Freud}, {Lakoff}, and the {Representation} of {Monstrosity} in {Cinematic} {Horror}}, volume = {1}, url = {http://www.othervoices.org/1.3/sschneider/monsters.php}, number = {3}, journal = {Other Voices}, author = {Schneider, Steven}, year = {1999} } @book{schopp_war_2009, title = {The {War} on {Terror} and {American} {Popular} {Culture}: {September} 11 and {Beyond}}, isbn = {978-0-8386-4207-8}, shorttitle = {The {War} on {Terror} and {American} {Popular} {Culture}}, abstract = {The War on Terror and American Popular Culture is a collection of original essays by academics and researchers from around the world that examines the complex interrelation between the Bush administration's "War on Terror" and American popular culture. Written by experts in the fields of literature, film, and cultural studies, this book examines in detail how popular culture reflects concerns and anxieties about the September 11 attacks and the war those attacks generated, how it interrogates the individual and collective impacts that war has wrought, how it might challenge or critique current policy, and how it might reinforce or endorse the war and its sociopolitical paradigms.}, language = {en}, publisher = {Fairleigh Dickinson Univ Press}, editor = {Schopp, Andrew and Hill, Matthew B.}, year = {2009} } @article{schott_dawn_2010, title = {Dawn of the {Digital} {Dead}: {The} {Zombie} as {Interactive} {Social} {Satire} in {American} {Popular} {Culture}}, volume = {29}, issn = {1838-9554}, shorttitle = {{DAWN} {OF} {THE} {DIGITAL} {DEAD}}, url = {http://www.jstor.org/stable/41054186}, abstract = {This article examines the continued relevance and allegorical nature of the American independent filmmaker George A. Romero's cinematic refashioning of the zombie. While Romero has continued to reemploy the zombie in his films over the last 40 years, his 1968 version of the walking dead has also gone on to become an irrepressible force, having slowly infiltrated and overrun all arenas of mainstream media and wider culture. This article focuses on a videogame remediation of the zombie, Dead Rising (Capcom), which is a homage to Romero's sequel to Night of the Living Dead (1968) -Dawn of the Dead (1978). In contrast with the indiscriminate placement of zombies in many other videogame texts, Dead Rising directly mimics the context of Romero's violent satire of American consumer culture by trapping the player in a shopping mall located in a suburban morass and surrounded by zombies. It is argued that the potency of Romero's social commentary gains new relevance in a digital age in which web browsers are utilized to surf and purchase goods online. Through its interactive translation, Dawn of the Dead reveals itself to be a predecessor of the contemporary videogame that can be celebrated for its spatial mode of storytelling and the innovative manner in which it engaged audiences.}, number = {1}, urldate = {2016-05-12}, journal = {Australasian Journal of American Studies}, author = {Schott, Gareth}, year = {2010}, pages = {61--75} } @incollection{dellwing_talking_2015, address = {Wiesbaden}, title = {The {Talking} {Dead}: {Revisionen} des {Zombies} in den britischen {TV}-{Serien} \textit{{The} {Fades}} (2011) und \textit{{In} {The} {Flesh}} (2013)}, isbn = {978-3-658-01721-7 978-3-658-01722-4}, language = {de}, urldate = {2015-11-23}, booktitle = {Vergemeinschaftung in {Zeiten} der {Zombie}-{Apokalypse}}, publisher = {Springer}, author = {Schrackmann, Petra}, editor = {Dellwing, Michael and Harbusch, Martin}, year = {2015}, pages = {215--238} } @incollection{dellwing_monstrose_2015, address = {Wiesbaden}, title = {Monströse {Gestalten} als das fantastische {Andere}: {Von} den {Rändern} der {Welt} ins {Zentrum} der bürgerlichen {Gesellschaft}}, isbn = {978-3-658-01721-7 978-3-658-01722-4}, language = {de}, urldate = {2015-11-23}, booktitle = {Vergemeinschaftung in {Zeiten} der {Zombie}-{Apokalypse}}, publisher = {Springer}, author = {Schumacher, Florian}, editor = {Dellwing, Michael and Harbusch, Martin}, year = {2015}, pages = {23--36} } @book{scott_monsters_2007, address = {Amsterdam}, series = {At the interface, probing the boundaries}, title = {Monsters and the {Monstrous}: {Myths} and {Metaphors} of {Enduring} {Evil}}, isbn = {978-90-420-2253-9}, shorttitle = {Monsters and the monstrous}, language = {eng}, number = {38}, publisher = {Rodopi}, editor = {Scott, Niall}, year = {2007} } @book{seeslen_george_2010, address = {Bellheim}, title = {George {A}. {Romero} und seine {Filme}}, language = {de}, publisher = {kuk}, author = {Seeßlen, Georg T.}, year = {2010} } @book{sheller_consuming_2003, address = {London; New York}, title = {Consuming the {Caribbean}: {From} {Arawaks} to {Zombies}}, isbn = {0-415-25759-X 978-0-415-25759-6 0-415-25760-3 978-0-415-25760-2}, shorttitle = {Consuming the {Caribbean}}, abstract = {Sheller demonstrates how colonial exploitation of the Caribbean led directly to contemporary forms of consumption of the region and its products, aiming to trouble innocent indulgence in the pleasures of thoughtless consumption.}, language = {English}, publisher = {Routledge}, author = {Sheller, Mimi}, year = {2003} } @article{shillock_walking_2014, title = {The {Walking} {Flesh}: {Zombies}, {Narrative} {Desire}, and the {Apostle} {Paul}’s {Anxious} {Account} of {Embodiment}}, volume = {13}, url = {http://www.jcrt.org/archives/13.2/}, number = {2}, urldate = {2016-05-11}, journal = {JCRT: Journal for Cultural and Religious Theory}, author = {Shillock, Larry T.}, year = {2014}, pages = {111--122} } @misc{shoults_theres_2012, title = {There's {Only} {Three} of {Us}: {The} {Women} of the {Zombie} {Apocalypse}}, shorttitle = {There's {Only} {Three} of {Us}}, url = {https://genderandgenre.wordpress.com/2012/09/18/theres-only-three-of-us-the-women-of-the-zombie-apocalypse/}, abstract = {In recent years, it seems that zombie films have soared in popularity, busting from the cult stream to the mainstream.  Whether it’s a drama, comedy, or a horror film, one thing is certain:  zombie...}, urldate = {2016-02-20}, journal = {Gender and Genre}, author = {Shoults, Kate S.}, month = sep, year = {2012} } @article{sigurdson_slavoj_2013, title = {Slavoj Žižek, the {Death} {Drive}, and {Zombies}: {A} {Theological} {Account}}, volume = {29}, copyright = {© 2013 John Wiley \& Sons Ltd}, issn = {1468-0025}, shorttitle = {Slavoj Žižek, the {Death} {Drive}, and {Zombies}}, url = {http://onlinelibrary.wiley.com/doi/10.1111/moth.12037/abstract}, doi = {10.1111/moth.12037}, abstract = {In this article, I discuss the question of the hybridity of the religious and the secular through the example of the Slovenian philosopher Slavoj Žižek and his psychoanalytically inspired notion of the undead. The undead is Žižek's rendering of the Freudian death drive, and as the undead is instantiated in the popular culture cliché of the zombies, we need to look no further than to George A. Romero's classic zombie movie Night of the Living Dead from 1968. Thus, this article proceeds in three steps: first, I trace the concept of the death drive from Freud to Žižek, supplemented, for their theological importance, by two contemporary philosophers, Jonathan Lear and Eric Santner. Second, I discuss the zombie in contemporary popular culture, with a focus on Romero's movies, and whether such cinematic representations can function as a kind of cultural critique. In conclusion, I return to the question of theology by showing what Žižek means by theology and contrasting as well as comparing his philosophy to Augustine's anthropology. Despite Žižek's atheistic confession and his dismissal of all pre-modern philosophy and theology, I show that Augustine's anthropology is structurally similar to Žižek's, thus suggesting that the relationship is more complex than Žižek allows. Both are united in rejecting any superficial and transparent understanding of self, and become, consequently, an example of the ambiguous relationship between religion and secularity in contemporary times.}, language = {en}, number = {3}, urldate = {2016-05-12}, journal = {Modern Theology}, author = {Sigurdson, Ola}, month = jul, year = {2013}, pages = {361--380} } @book{silver_zombie_2014, address = {Milwaukee, WI}, title = {The {Zombie} {Film}: {From} \textit{{White} {Zombie}} to \textit{{World} {War} {Z}}}, isbn = {978-0-87910-887-8}, shorttitle = {The zombie film}, publisher = {Applause Theatre \& Cinema Book}, author = {Silver, Alain and Ursini, James}, year = {2014} } @book{smith_footbook_2015, address = {Axminster}, title = {The {Footbook} of {Zombie} {Walking}: {How} to {Be} {More} {Than} a {Survivor} in an {Apocalypse}}, isbn = {978-1-909470-87-3}, shorttitle = {The footbook of zombie walking}, language = {English}, publisher = {Triarchy Press}, author = {Smith, Phil}, year = {2015} } @book{smith_braaaiiinnnsss!:_2011, address = {Ottawa}, title = {Braaaiiinnnsss!: {From} {Academics} to {Zombies}}, isbn = {978-0-7766-0770-2}, shorttitle = {Braaaiiinnnsss!}, abstract = {Think you know a thing or two about zombies? Think again. If you’re going to keep your wits – and your brains – about you during a zombie attack, you need expert advice. Braaaiiinnnsss!: From Academics to Zombies gathers together an irreverent group of scholars and writers to take a serious look at how zombies threaten almost every aspect of our lives. Spawned from the viral publication "When Zombies Attack!: Mathematical Modelling of an Outbreak of Zombie Infection," this multidisciplinary book draws on a variety of fields including biology, history, law, gender studies, archaeology, library science and landscape architecture. Part homage to zombie films and fiction, part cultural study, this collection humorously explores our deep-seated fear of the undead. Engaging and accessible, Braaaiiinnnnssss! will amuse academics and zombie fans alike.}, language = {English}, publisher = {University of Ottawa Press}, editor = {Smith, Robert J.}, year = {2011} } @article{sorensen_against_2014, title = {Against the {Post}-{Apocalyptic}: {Narrative} {Closure} in {Colson} {Whitehead}'s \textit{{Zone} {One}}}, volume = {55}, shorttitle = {Against the {Post}-{Apocalyptic}}, url = {http://muse.jhu.edu/journals/contemporary_literature/v055/55.3.sorensen.html}, number = {3}, urldate = {2016-03-06}, journal = {Contemporary Literature}, author = {Sorensen, Leif}, year = {2014}, pages = {559--592} } @article{stafford_apocalypse_2014, title = {Apocalypse {Revisited}: {The} {Role} of the {Abject} in {Robert} {Louis} {Stevenson}'s \textit{{Strange} {Case} of {Dr} {Jekyll} and {Mr} {Hyde}} and the {Millennial} {Zombie} {Outbreak} {Narrative}}, volume = {41}, shorttitle = {Apocalypse revisited}, url = {http://search.informit.com.au/documentSummary;dn=247654951408467;res=IELAPA}, abstract = {This article analyses how sociocultural anxieties are evoked through representations of the abject in the horror genre. Evaluating deeply held sociocultural fears and concerns, as they emerge through horror texts at the turn of the century ('fin-de-siecle' and millennial), has identified shared preoccupations at these times. These include fear of disintegration of the self and loss of individual agency, and fear of invasion, the collapse of society, and an overall loss of purpose and order. These themes are expressed through the literature of both these periods as states of madness, infection and degradation. This research locates the zombie resurgence in the gothic, rationalising the cyclical nature of millennial sociocultural anxieties, and the way these can be mapped through extant horror texts. A focus on the gothic and its perennial expression of sociocultural anxieties serves to draw parallels between Victorian and millennial horror narratives, demonstrating a historical continuity with its culmination in the hollowed-out walking dead of modern-day zombie apocalypse narratives.}, urldate = {2016-05-04}, journal = {LiNQ}, author = {Stafford, Rebecca}, year = {2014}, pages = {139--156} } @article{stratton_trouble_2011, title = {The {Trouble} with {Zombies}: {Bare} {Life}, {Muselmänner} and {Displaced} {People}}, volume = {1}, issn = {2044-0138}, shorttitle = {The {Trouble} with {Zombies}}, url = {http://www.euppublishing.com/doi/abs/10.3366/soma.2011.0013}, doi = {10.3366/soma.2011.0013}, abstract = {This article considers the increase in media representations of zombies during the first decade of the 2000s. It argues that a connection can be read between the new preoccupation with zombies and anxieties over the apparent threat posed by those without rights attempting to enter Western countries. The article sets up a theoretical argument using the work of Giorgio Agamben. Taking on board Agamben's discussion of ‘bare life’, the article follows Agamben in making a link between this idea and the Muselmann, the Jew reduced to the walking dead in the concentration and death camps. For Agamben, bare life is central to the functioning of the modern state. The article suggests that bare life is a way of connecting the Muselmann with the zombie as that monster has been elaborated in films since George Romero's Night of the Living Dead (1968). Indeed, where Agamben argues that the werewolf was the characterising monster of the premodern era, this article argues that the zombie is the characterising monster of ...}, number = {1}, urldate = {2016-02-14}, journal = {Somatechnics}, author = {Stratton, Jon}, month = mar, year = {2011}, pages = {188--208} } @article{sutherland_rigor_2007, title = {Rigor / {Mortis}: {The} {Industrial} {Life} of {Style} in {American} {Zombie} {Cinema}}, volume = {48}, issn = {1559-7989}, shorttitle = {Rigor / {Mortis}}, url = {https://muse.jhu.edu/journals/framework_the_journal_of_cinema_and_media/v048/48.1sutherland.html}, doi = {10.1353/frm.2007.0008}, number = {1}, urldate = {2016-03-19}, journal = {Framework: The Journal of Cinema and Media}, author = {Sutherland, Meghan}, year = {2007}, note = {{\textless}p{\textgreater}Volume 48, Number 1, Spring 2007{\textless}/p{\textgreater}}, pages = {64--78} } @article{swanson_only_2014, title = {“{The} {Only} {Metaphor} {Left}”: {Colson} {Whitehead}'s \textit{{Zone} {One}} and {Zombie} {Narrative} {Form}}, volume = {47}, issn = {0016-6928, 2160-0228}, shorttitle = {“{The} {Only} {Metaphor} {Left}”}, url = {http://genre.dukejournals.org/content/47/3/379}, doi = {10.1215/00166928-2797225}, abstract = {This article explores Colson Whitehead's Zone One and the zombie narrative genre and outlines some of the ways each illuminates structural, generic, and aesthetic qualities in the other. Contrary to popular critical apologies, Zone One is largely a conventional zombie narrative that embraces the formal implications of the genre's tropes: notably the zombie figure itself, the barricade, and what this article calls soft and hard breaches. The zombie is a deconstructive and contagious anticharacter whose destabilizing role necessitates the construction of barricades that (1) protect the characters from infection and living death, (2) delineate a narrative space in which plot and character can develop, and (3) spatialize epistemological and aesthetic modes. Whereas hard breaches involve a narrative-threatening failure of diegetic barricades, the soft breach allows the zombie's destabilizing function to operate in the narrative space without posing a diegetic threat. Zone One's figures function similarly, as demonstrated by a formal and aesthetic analysis with specific regard to the novel's eponymous “survival space” and its constitutive barricade motif. Whitehead innovates in the genre by means of his own zombie contribution, the figure of the straggler, which facilitates more meditative thematic work than zombie narratives generally allow. This formal exploration of Zone One as a zombie narrative is meant to further zombie scholarship and to frame future critical work on the novel by contextualizing it in its genre.}, language = {en}, number = {3}, urldate = {2016-03-06}, journal = {Genre}, author = {Swanson, Carl Joseph}, month = sep, year = {2014}, pages = {379--405} } @book{verstynen_zombies_2014, title = {Do {Zombies} {Dream} of {Undead} {Sheep}? {A} {Neuroscientific} {View} of the {Zombie} {Brain}}, isbn = {978-1-4008-5192-8}, shorttitle = {Do {Zombies} {Dream} of {Undead} {Sheep}?}, abstract = {Even if you've never seen a zombie movie or television show, you could identify an undead ghoul if you saw one. With their endless wandering, lumbering gait, insatiable hunger, antisocial behavior, and apparently memory-less existence, zombies are the walking nightmares of our deepest fears. What do these characteristic behaviors reveal about the inner workings of the zombie mind? Could we diagnose zombism as a neurological condition by studying their behavior? In Do Zombies Dream of Undead Sheep?, neuroscientists and zombie enthusiasts Timothy Verstynen and Bradley Voytek apply their neuro-know-how to dissect the puzzle of what has happened to the zombie brain to make the undead act differently than their human prey. Combining tongue-in-cheek analysis with modern neuroscientific principles, Verstynen and Voytek show how zombism can be understood in terms of current knowledge regarding how the brain works. In each chapter, the authors draw on zombie popular culture and identify a characteristic zombie behavior that can be explained using neuroanatomy, neurophysiology, and brain-behavior relationships. Through this exploration they shed light on fundamental neuroscientific questions such as: How does the brain function during sleeping and waking? What neural systems control movement? What is the nature of sensory perception? Walking an ingenious line between seriousness and satire, Do Zombies Dream of Undead Sheep? leverages the popularity of zombie culture in order to give readers a solid foundation in neuroscience.}, language = {en}, publisher = {Princeton University Press}, author = {Verstynen, Timothy and Voytek, Bradley}, month = sep, year = {2014} } @article{vint_introduction:_2011, title = {Introduction: {Science} {Fiction} and {Biopolitics}}, volume = {4}, issn = {1754-3789}, shorttitle = {Introduction}, doi = {10.3828/sfftv.2011.11}, number = {2}, journal = {Science Fiction Film and Television}, author = {Vint, Sherryl}, year = {2011}, pages = {161--172} } @incollection{link_hollywood_2015, address = {New York}, series = {Cambridge companions to literature}, title = {Hollywood {Science} {Fiction}}, isbn = {978-1-107-05246-8}, abstract = {"The Cambridge Companion to American Science Fiction explores the relationship between the ideas and themes of American science fiction and their roots in the American cultural experience. Science fiction in America has long served to reflect the country's hopes, desires, ambitions, and fears. The ideas and conventions associated with science fiction are pervasive throughout American film and television, comics and visual arts, games and gaming, and fandom, as well as across the culture writ large. Through essays that address not only the history of science fiction in America but also the influence and significance of American science fiction throughout media and fan culture, this companion serves as a key resource for scholars, teachers, students, and fans of science fiction"--}, booktitle = {The {Cambridge} {Companion} to {American} {Science} {Fiction}}, publisher = {Cambridge University Press}, author = {Vint, Sherryl}, editor = {Link, Eric Carl and Canavan, Gerry}, year = {2015}, pages = {111--124} } @incollection{mcglotten_laid_2014, address = {Jefferson, NC}, series = {Contributions to zombie studies}, title = {Laid to {Rest}: {Romance}, {End} of the {World} {Sexuality} and {Apocalyptic} {Anticipation} in {Robert} {Kirkman}’s \textit{{The} {Walking} {Dead}}}, isbn = {978-0-7864-7907-8}, url = {https://katalogplus.ub.uni-bielefeld.de/title/2412906}, abstract = {"Since the early 2000s, zombies have increasingly swarmed the landscape of popular culture. A growing number of zombie narratives have introduced sexual themes, endowing the living dead with their own sexual identity. The unpleasant idea of the sexual zombie is itself provocative, triggering questions about the nature of desire, sex, sexuality, and the politics of sexual behaviors"--}, booktitle = {Zombies and {Sexuality}: {Essays} on {Desire} and the {Living} {Dead}}, publisher = {McFarland}, author = {Vossen, Emma}, editor = {McGlotten, Shaka and Jones, Steve}, year = {2014}, pages = {88--105} } @book{wald_contagious:_2008, address = {Durham}, title = {Contagious: {Cultures}, {Carriers}, and the {Outbreak} {Narrative}}, isbn = {978-0-8223-4128-4 978-0-8223-4153-6}, shorttitle = {Contagious}, publisher = {Duke University Press}, author = {Wald, Priscilla}, year = {2008} } @incollection{weise_how_2011, address = {Jefferson, NC; London}, title = {How the {Zombie} {Changed} {Videogames}}, shorttitle = {Porn of the {Dead}}, booktitle = {Zombies {Are} {Us}: {Essays} on the {Humanity} of the {Walking} {Dead}}, publisher = {McFarland}, author = {Weise, Matthew J.}, editor = {Moreman, Christopher M. and Rushton, Cory James}, year = {2011}, pages = {151--168} } @article{weiss_introduction:_2014, title = {Introduction: {The} {Cultural} {Un}/{Life} of {Zombies}}, volume = {13}, url = {http://www.jcrt.org/archives/13.2/}, number = {2}, urldate = {2016-05-11}, journal = {JCRT: Journal for Cultural and Religious Theory}, author = {Weiss, Dennis M. and Taylor, Victor E.}, year = {2014}, pages = {i--vi} } @book{wetmore_back_2011, address = {Jefferson, N.C}, title = {Back from the {Dead}: {Remakes} of the {Romero} {Zombie} {Films} as {Markers} of {Their} {Times}}, isbn = {978-0-7864-4642-1}, shorttitle = {Back from the dead}, abstract = {"George Romero's landmark film Night of the Living Dead formed the paradigm of modern zombie cinema. George Romero has created five more zombie films, and other directors have remade Romero's movies. This survey of those remakes examines ways in which the sociocultural contexts of different time periods are reflected by changes to the narrative of Romero's original versions"--Provided by publisher}, publisher = {McFarland}, author = {Wetmore, Kevin J.}, year = {2011} } @book{wetmore_post-9/11_2012, address = {London [et al.]}, title = {Post-9/11 {Horror} in {American} {Cinema}}, isbn = {978-1-4411-0396-3}, abstract = {The horror film is meant to end in hope: Regan McNeil can be exorcized. A hydrophobic Roy Scheider can blow up a shark. Buffy can and will slay vampires. Heroic human qualities like love, bravery, resourcefulness, and intelligence will eventually defeat the monster. But, after the 9/11, American horror became much more bleak, with many films ending with the deaths of the entire main cast. Post-9/11 Horror in American Cinema illustrates how contemporary horror films explore visceral and emotional reactions to the attacks and how they underpin audiences' ongoing fears about their safety. It examines how scary movies have changed as a result of 9/11 and, conversely, how horror films construct and give meaning to the event in a way that other genres do not. Considering films such as Quarantine, Cloverfield, Hostel and the Saw series, Wetmore examines the transformations in horror cinema since 9/11 and considers not merely how the tropes have changed, but how our understanding of horror itself has changed.}, language = {en}, publisher = {Bloomsbury}, author = {Wetmore, Kevin J.}, month = mar, year = {2012} } @book{whitman_economics_2014, address = {Lanham, MD [et al.]}, title = {Economics of the {Undead}: {Zombies}, {Vampires}, and the {Dismal} {Science}}, isbn = {978-1-4422-3503-8}, shorttitle = {Economics of the {Undead}}, abstract = {Whether preparing us for economic recovery after the zombie apocalypse, analyzing vampire investment strategies, or illuminating the market forces that affect vampire-human romances, Economics of the Undead: Zombies, Vampires, and the Dismal Science gives both seasoned economists and layman readers something to sink their teeth into. Undead characters have terrified popular audiences for centuries, but when analyzed closely, their behaviors and stories—however farfetched—mirror our own in surprising ways. The essays collected in this book are as humorous as they are thoughtful, as culturally relevant as they are economically sound, and provide an accessible link between a popular culture phenomenon and the key concepts necessary to building one’s understanding of economic systems big and small. It is the first book to apply and combine economics and our society’s fascination with the undead, and is an invaluable resource for those looking to learn economic fundamentals in a fun and innovative way.}, language = {en}, publisher = {Rowman \& Littlefield}, editor = {Whitman, Glen and Dow, James}, month = jul, year = {2014} } @article{young_cinema_1998, title = {The {Cinema} of {Difference}: {Jacques} {Tourneur}, {Race} and \textit{{I} {Walked} with a {Zombie}} (1943)}, volume = {7}, issn = {1351-3818}, shorttitle = {The {Cinema} of {Difference}}, url = {http://www.jstor.org/stable/30002409}, urldate = {2016-05-12}, journal = {Irish Journal of American Studies}, author = {Young, Gwenda}, year = {1998}, pages = {101--119} } @incollection{boluk_national_2011, address = {Jefferson, NC}, title = {The {National} {Strategy} for {Zombie} {Containment}: {Myth} {Meets} {Activism} in {Post}-9/11 {America}}, language = {Englisch}, booktitle = {Generation {Zombie}: {Essays} on the {Living} {Dead} in {Modern} {Culture}}, publisher = {McFarland}, author = {Zealand, Christopher}, editor = {Boluk, Stephanie and Lenz, Wylie}, month = jun, year = {2011}, pages = {231--247} } @incollection{furst_willenloses_2011, address = {München}, title = {Willenloses ewiges {Leben}: {Der} {Zombie} als {Figur} des {Exzesses} und der {Ausgrenzung}}, isbn = {978-3-933510-55-6}, language = {ger}, booktitle = {Untot: {Zombie}, {Film}, {Theorie}}, publisher = {Belleville}, author = {Zechner, Anke}, editor = {Fürst, Michael and Krautkrämer, Florian and Wiener, Serjoscha}, year = {2011}, pages = {195--211} } @book{whelan_zombies_2013, address = {Bristol}, title = {Zombies in the {Academy}: {Living} {Death} in {Higher} {Education}}, isbn = {978-1-84150-714-9}, shorttitle = {Zombies in the academy}, abstract = {The theme of zombies is topical and provocative, with the potential to appeal to a wide range of readers. This book is an engaging call for recognition of the conditions of contemporary humanities research, teaching, and cultural and labour practices. The zombie trope offers an unusual perspective into discussions about the current crises in higher education, and the proposed structure of the book allows for the 3 editors to open up interdisciplinary discussion (with their 3 sections covering corporatisation \& zombification, digital media \& moribund content distribution, and zombie literacies \& pedagogies). "Zombies in the Academy" taps into the current popular fascination with zombies and brings together scholars from a range of fields, including cultural and communications studies, sociology, film studies, and education, to give a critical account of the political, cultural, and pedagogical state of the university through the metaphor of zombiedom}, language = {eng}, publisher = {Intellect}, editor = {Whelan, Andrew and Walker, Ruth and Moore, Christopher}, year = {2013} } @article{bishop_vacationing_2011, title = {Vacationing in {Zombieland}: {The} {Classical} {Functions} of the {Modern} {Zombie} {Comedy}}, volume = {22}, issn = {0897-0521}, shorttitle = {Vacationing in {Zombieland}}, url = {https://www.questia.com/library/journal/1G1-257434942/vacationing-in-zombieland-the-classical-functions}, abstract = {TWO OTHERWISE PROLIFIC AND SUCCESSFUL CINEMATIC GENRES REGULARLY fail to win the esteem of the...}, language = {eng}, number = {1}, urldate = {2016-05-12}, journal = {Journal of the Fantastic in the Arts}, author = {Bishop, Kyle William}, month = jan, year = {2011}, keywords = {Comedy/Carnivalesque}, pages = {24--38} } @article{hughes_get_2015, title = {Get {Real}: {Narrative} and {Gameplay} in \textit{{The} {Last} of {Us}}}, volume = {6}, shorttitle = {Get real}, url = {http://search.proquest.com/openview/eb21c3d24cdca125ad35069f21ffd470/1?pq-origsite=gscholar}, number = {1}, urldate = {2016-05-12}, journal = {Journal of Comparative Research in Anthropology and Sociology}, author = {Hughes, Scott}, year = {2015}, pages = {149--154} } @article{carroll_aesthetics_2012, title = {The {Aesthetics} of {Risk} in \textit{{Dawn} of the {Dead}} and \textit{28 {Days} {Later}}}, volume = {23}, issn = {0897-0521}, url = {https://www.questia.com/library/journal/1G1-298173244/the-aesthetics-of-risk-in-dawn-of-the-dead-and-28}, abstract = {In 2011, the Center for Disease Control and Prevention (CDC) began a new campaign for emergency...}, language = {eng}, number = {1}, urldate = {2016-05-12}, journal = {Journal of the Fantastic in the Arts}, author = {Carroll, Jordan S.}, month = jan, year = {2012}, pages = {40--59} } @book{waller_living_2010, address = {Urbana, Ill.}, edition = {2nd}, title = {The {Living} and the {Undead}: {Slaying} {Vampires}, {Exterminating} {Zombies}}, isbn = {978-0-252-07772-2}, shorttitle = {Living and the undead}, language = {eng}, publisher = {University of Illinois Press}, author = {Waller, Gregory A.}, year = {2010} } @article{adkins_rumor_2007, title = {A {Rumor} of {Zombies}: {Deleuze} and {Guattari} on {Death}}, volume = {51}, issn = {0031-8256}, shorttitle = {A {Rumor} of {Zombies}}, url = {https://www.questia.com/library/journal/1P3-1388547851/a-rumor-of-zombies-deleuze-and-guattari-on-death}, abstract = {(ProQuest: ... denotes Greek characters omitted (or Cyrillic characters omitted.)) The work of...}, language = {eng}, urldate = {2016-05-12}, journal = {Philosophy Today}, author = {Adkins, Brent}, month = jan, year = {2007}, pages = {119--124} } @incollection{fischer-hornung_undead_2016, address = {Jackson}, title = {Undead {Avatars}: {The} {Zombie} and {Horror} {Video} {Games}}, isbn = {978-1-4968-0477-8}, abstract = {The undead are very much alive in contemporary entertainment and lore. Indeed, vampires and zombies have garnered attention in print media, cinema, and on television. The vampire, with roots in medieval European folklore, and the zombie, with origins in Afro-Caribbean mythology, have both undergone significant transformations in global culture, proliferating as deviant representatives of the zeitgeist.As this volume demonstrates, distribution of vampires and zombies across time and space has revealed these undead figures to carry multiple meanings. Of all monsters, vampires and zombies seem to be the trendiest—the most regularly incarnate of the undead and the monsters most frequently represented in the media and pop culture. Moreover, both figures have experienced radical reinterpretations. If in the past vampires were evil, blood-sucking exploiters and zombies were brainless victims, they now have metamorphosed into kinder and gentler blood-sucking vampires and crueler, more relentless, flesh-eating zombies.Although the portrayals of both vampires and zombies can be traced back to specific regions and predate mass media, the introduction of mass distribution through film and game technologies has significantly modified their depiction over time and in new environments. Among other topics, contributors discuss zombies in Thai films, vampire novels of Mexico, and undead avatars in horror videogames. This volume—with scholars from different national and cultural backgrounds—explores the transformations that the vampire and zombie figures undergo when they travel globally and through various media and cultures.}, language = {en}, booktitle = {Vampires and {Zombies}: {Transcultural} {Migrations} and {Transnational} {Interpretations}}, publisher = {University Press of Mississippi}, author = {Kirkland, Ewan}, editor = {Fischer-Hornung, Dorothea and Mueller, Monika}, month = feb, year = {2016} } @incollection{fischer-hornung_appetite_2016, address = {Jackson}, title = {Appetite for {Disruption}: {The} {Cinematic} {Zombie} and {Queer} {Theory}}, isbn = {978-1-4968-0477-8}, abstract = {The undead are very much alive in contemporary entertainment and lore. Indeed, vampires and zombies have garnered attention in print media, cinema, and on television. The vampire, with roots in medieval European folklore, and the zombie, with origins in Afro-Caribbean mythology, have both undergone significant transformations in global culture, proliferating as deviant representatives of the zeitgeist.As this volume demonstrates, distribution of vampires and zombies across time and space has revealed these undead figures to carry multiple meanings. Of all monsters, vampires and zombies seem to be the trendiest—the most regularly incarnate of the undead and the monsters most frequently represented in the media and pop culture. Moreover, both figures have experienced radical reinterpretations. If in the past vampires were evil, blood-sucking exploiters and zombies were brainless victims, they now have metamorphosed into kinder and gentler blood-sucking vampires and crueler, more relentless, flesh-eating zombies.Although the portrayals of both vampires and zombies can be traced back to specific regions and predate mass media, the introduction of mass distribution through film and game technologies has significantly modified their depiction over time and in new environments. Among other topics, contributors discuss zombies in Thai films, vampire novels of Mexico, and undead avatars in horror videogames. This volume—with scholars from different national and cultural backgrounds—explores the transformations that the vampire and zombie figures undergo when they travel globally and through various media and cultures.}, language = {en}, booktitle = {Vampires and {Zombies}: {Transcultural} {Migrations} and {Transnational} {Interpretations}}, publisher = {University Press of Mississippi}, author = {Simonsen, Rasmus R.}, editor = {Fischer-Hornung, Dorothea and Mueller, Monika}, month = feb, year = {2016} } @article{england_breached_2006, title = {Breached {Bodies} and {Home} {Invasions}: {Horrific} {Representations} of the {Feminized} {Body} and {Home}}, volume = {13}, shorttitle = {Breached {Bodies} and {Home} {Invasions}}, doi = {10.1080/09663690600808452}, abstract = {This article addresses abject representations of the feminized body and home. Abjection plays a key role in the creation of ambiguity and unease, encompassing the paradoxes of transgression, which is key to the critical examination of social relations and constructions. I conduct an investigation of portrayals of abject spaces in two sites, the body and the home, which are analyzed through three films: I Walked with a Zombie (1943), Evil Dead II (1987) and The Others (2001). In my analysis, I show how these films repeatedly portray feminized bodies and homes that, when transgressive, are seen as abject until order is re-established at the conclusion of the film. In these horror texts, boundaries dissolve and create potentially progressive moments which can disturb gendered norms and binaries, but ultimately, the boundaries are reified and re-normed, reinscribing patriarchal gender codings of space. Cuerpos violados e invasiones del hogar: representaciones horrificas del cuerpo feminizada y el hogar Éste artículo trata las representaciones abyecto del cuerpo feminizado y el hogar. Abyección tiene un papel critica en la creación de ambigüedad y inquietud, abarcando las paradojas de trasgresión, lo cual es importante para examinar críticamente las relaciones y construcciones sociales. Realizo una investigación de las interpretaciones de espacios abyectos en dos sitios, el cuerpo y el hogar, a través de tres películas: I Walked with a Zombie (1943), Evil Dead II (1987) y The Others (2001). En mi análisis, muestro como éstas películas interpretan repetidamente los cuerpos feminizados y hogares que, cuando trasgresivos, se ven como abyecto hasta que se reestablece el orden al fin de la película. En éstos textos horrores, las fronteras disuelven y crean momentos potencialmente progresivos que pueda perturbar el género y las normas y dicotomías, pero últimamente se reifican y se renormalizan las fronteras, reescribiendo el género y los patriarcal códigos de espacio.}, number = {4}, journal = {Gender, Place and Culture - A Journal of Feminist Geography}, author = {England, Marcia}, month = aug, year = {2006}, pages = {353--363} } @article{wheeler_another_2013, title = {'{Another} {Generation} {Cometh}': {Apocalyptic} {Endings} and {New} {Beginnings} in {Science} {Fictional} {New} {London}(s)}, volume = {25}, shorttitle = {'{Another} {Generation} {Cometh}'}, doi = {10.3167/cs.2013.250205}, abstract = {This article looks at the sub-genre of apocalyptic science fiction and explores the ways that a range of contemporary writers engage with natural, climatic disasters and the damage wrought to the planet in the Anthropocene era. The novels under discussion are Maggie Gee's The Flood and The Ice People, Adam Roberts's The Snow, Stephen Baxter's Flood and Stephen Jones's creative compilation Zombie Apocalypse. The novels are analysed as examples of revelatory eschatological and apocalyptic literature that implicitly borrow from canonical religious writings of the past. The article analyses the apocalyptic narratives as predictors of both the end of the world and the coming of a new age. It focuses primarily on the novels' relationship to apocalyptic discontinuity and to end-of-the-world scenarios that are predicated on the forces of nature.}, number = {2}, journal = {Critical Survey}, author = {Wheeler, Pat}, month = jun, year = {2013}, pages = {57--70} } @article{williams_birthing_2007, title = {Birthing an {Undead} {Family}: {Reification} of the {Mother}'s {Role} in the {Gothic} {Landscape} of 28 {Days} {Later}}, volume = {9}, shorttitle = {Birthing an {Undead} {Family}}, doi = {10.7227/GS.9.2.5}, abstract = {As its title suggests, Danny Boyle's 28 Days Later is a zombie movie about procreation. While this idea – a human menstrual cycle alluding to the multiplication of the undead – may seem at first to be paradoxical, such an idea is hardly a new one in zombie mythology. Boyle's film borrows from the traditional Gothic through a number of standard Gothic tropes in order to define the character of the film's female protagonist as one necessary for her biological or reproductive role and to ward off possible domestic chaos and invasion through her role as mother. The film acknowledges an idea of woman as objectified and violated in both a postfeminist, but strangely also traditionally Gothic definition of woman as sex object and mother who is necessary for this biological, reproductive role as well as her identity, not as survivor, but as domestic caretaker.}, number = {2}, journal = {Gothic Studies}, author = {Williams, G. Christopher}, month = nov, year = {2007}, pages = {33--44} } @article{hall_varieties_2011, title = {Varieties of {Zombieism}: {Approaching} {Comparative} {Political} {Economy} through \textit{28 {Days} {Later}} and \textit{{Wild} {Zero}}}, volume = {12}, shorttitle = {Varieties of {Zombieism}}, doi = {10.1111/j.1528-3585.2010.00415.x}, abstract = {This paper argues that the frequent references to zombies in analyses of the recent global financial crisis can be harnessed as a “teachable moment” for students of Comparative Political Economy. I claim that two zombie movies in particular—Britain’s 28 Days Later and Japan’s Wild Zero—can be viewed as if they were allegories of two different national forms of capitalism that are integrated into, and affect, the global political economy in different ways. While 28 Days Later displays remarkable similarities to Marxist accounts of the origins and dynamics of capitalism in England, Wild Zero can be seen as an account of the post-1985 dynamics of the Japanese political economy and its engagement with Asia. This paper gives concrete suggestions for the use of zombie films in the classroom. It concludes with the argument that these two films help to explain why references to “zombie capitalism” cross ideological lines.}, number = {1}, journal = {International Studies Perspectives}, author = {Hall, Derek}, month = feb, year = {2011}, pages = {1--17} } @article{cohen_legend_2014, title = {The {Legend} of {Disorder}: {The} {Living} {Dead}, {Disorder} and {Autoimmunity} in {Richard} {Matheson}’s \textit{{I} {Am} {Legend}}}, volume = {5}, shorttitle = {The legend of disorder}, doi = {10.1386/host.5.1.47_1}, abstract = {This article positions Richard Matheson’s 1954 vampire novel I Am Legend in the context of a zombie lineage, closing the widely discussed gap between the vampire and the zombie in order to address the way in which Matheson’s vampires not only literally inspire the emergence of the modern zombie but moreover highlight the model of infection that came to define the zombie. By tracing binaries in Matheson’s novel – order/disorder, immunity/autoimmunity – this article considers how Matheson’s vampires reveal the implicitly violent order in the zombie’s disorderly infection. I Am Legend’s model of infection – its zombieness –underscores the relationship between the plague and the order it induces, as well as the self-negating violence inherent in that order. As they extend the lineage from vampire to zombie, the living dead here draw attention to the underlying theme of contagion that runs throughout the zombie narrative. This article therefore locates Matheson’s work not only in a pop-cultural domain but in a larger theoretical discussion of biopolitics and autoimmunity (via Michel Foucault, Roberto Esposito, and Jacques Derrida) in order to argue that the very state of living dead disorder emerges as a positive state in its relationship to the category of the autoimmune, and that I Am Legend rescripts the categories of ‘disorder’ and ‘living dead’ from post-apocalyptic to redemptive.}, number = {1}, journal = {Horror Studies}, author = {Cohen, Simchi}, month = apr, year = {2014}, pages = {47--63} } @article{webb_kind_2008, title = {Some {Kind} of {Virus}: {The} {Zombie} as {Body} and as {Trope}}, volume = {14}, number = {2}, journal = {Body and Society}, author = {Webb, Jen and Byrnand, Sam}, year = {2008}, pages = {83--98} } @article{schinkel_illegal_2009, title = {'{Illegal} {Aliens}' and the {State}, or: {Bare} {Bodies} vs the {Zombie}}, volume = {24}, issn = {0268-5809}, shorttitle = {'{Illegal} {Aliens}' and the {State}, or}, url = {http://iss.sagepub.com/cgi/doi/10.1177/0268580909343494}, doi = {10.1177/0268580909343494}, language = {en}, number = {6}, urldate = {2016-05-12}, journal = {International Sociology}, author = {Schinkel, W.}, month = nov, year = {2009}, pages = {779--806} } @article{murphy_sake_2015, title = {Sake, {Sex} and {Gore}: {The} {Japanese} {Zombie} {Film} and {Cult} {Cinema}}, volume = {26}, shorttitle = {Sake, sex and gore}, doi = {10.1386/ac.26.2.193_1}, abstract = {Zombie film is a minor, yet growing, sub-genre within Japan’s contemporary horror genre. This article seeks to situate this sub-genre within the context of cult cinema and examine the aesthetic qualities prominent within key Japanese zombie films. Using Mathijs and Mendik’s anatomical categories in conjunction with an exploration of the international marketing and reception of the sub-genre, this article discusses Helldriver (Nishimura, 2011), Zombie Ass: Toilet of the Dead (Iguchi, 2011) and Rape Zombie: Lust of the Dead (Tomomatsu, 2012) as key examples of the sub-genre’s cult designation.}, number = {2}, journal = {Asian Cinema}, author = {Murphy, Kayleigh}, month = oct, year = {2015}, pages = {193--203} } @article{wing-fai_importing_2011, title = {Importing {Genre}, {Exporting} {Cult}: {The} {Japanese} {Zom}-{Com}}, volume = {22}, shorttitle = {Importing {Genre}, {Exporting} {Cult}}, doi = {10.1386/ac.22.1.110_1}, abstract = {This article argues that the Japanese zom-com, with Wild Zero (2001, dir. Takeuchi Tetsuro) and Tokyo Zombie (Tokyo Zonbi 2005, dir. Sato Sakichi) as examples, is the result of cultural borrowing from American popular culture and an eclectic mix of generic influences. The zom-com films from Japan rarely reference traditional folklore that has been a central source in the history of Japanese horror cinema. Instead, the current discussion considers the two films alongside the zombie canon, and explores how they exist as transnational cult that can be understood through the academic discourse on taste and distinction. In the age of global production and consumption, differences are minimized in these films’ “imageries of Japan” and the producers’ marketing, rendering them familiar trash and engendering their cult status. The article concludes that it is the trans-cultural quality of these Japanese films rather than “the dead that walk” which underpins them as cult movies.}, number = {1}, journal = {Asian Cinema}, author = {Wing-Fai, Leung}, month = mar, year = {2011}, pages = {110--121} } @article{hassler-forest_cowboys_2012, title = {Cowboys and {Zombies}: {Destabilizing} {Patriarchal} {Discourse} in \textit{{The} {Walking} {Dead}}}, volume = {2}, shorttitle = {Cowboys and zombies}, doi = {10.1386/stic.2.2.339_1}, abstract = {The serialized comic book The Walking Dead, written by Robert Kirkman and drawn by Charlie Adlard, has been published by Image Comics from October 2003, and is still being released in monthly instalments as of this writing. It has won numerous awards, including the prestigious Eisner Award for Best Continuing Series in 2010, and has recently been adapted as a successful TV series by AMC. A videogame is forthcoming in late 2011, the television series has been extended for a second, longer season, and there is even an official Walking Dead board game in the works. While indicative of the more general popularity of zombie fiction in contemporary mainstream culture, the Walking Dead phenomenon points towards interesting questions that are raised by its intersection of genres, as well as by its unique combination of an apocalyptic narrative and seemingly endlessly ongoing serialization. In this article, the intersection of seemingly incompatible genres will be my main focus, using Lacanian theory to engage with the ways in which The Walking Dead conflates the western with the zombie genre. This combination of genres is all the more thoughtprovoking as the western genre traditionally stages the Grand Narrative of patriarchal power from within the historical context of colonialist imperialism, whereas the zombie genre is associated with the destabilization of such forms of power. I will also engage with the serialized form in which this narrative is presented, arguing that the series' systematic lack of formal closure is fundamental to its larger decentering effect.}, number = {2}, journal = {Studies in Comics}, author = {Hassler-Forest, Dan}, month = jan, year = {2012}, pages = {339--355} } @article{clasen_anatomy_2010, title = {The {Anatomy} of the {Zombie}: {A} {Bio}-{Psychological} {Look} at the {Undead} {Other}}, volume = {1}, shorttitle = {The anatomy of the zombie}, url = {http://www.otherness.dk/fileadmin/www.othernessandthearts.org/Publications/Journal_Otherness/Otherness__Essays_and_Studies_1.1/Anatomy_of_a_Zombie_01.pdf}, number = {1}, urldate = {2016-05-12}, journal = {Otherness: Essays and Studies}, author = {Clasen, Mathias}, year = {2010} } @article{iuliano_not_2013, title = {Not {Dead} {Enough} to {Be} (an) {Other}. {Joyce} {Carol} {Oates}’s {Zombies} {Between} {History} and {Fiction}.}, volume = {3}, url = {http://www.otherness.dk/fileadmin/www.othernessandthearts.org/Publications/Journal_Otherness/Otherness_Essays_and_Studies_3.2/Not_Dead_Enough_to_Be__an_Other_-_Fiorenzo_Iuliano.pdf}, number = {2}, urldate = {2016-05-12}, journal = {Otherness: Essays and Studies}, author = {Iuliano, Fiorenzo}, year = {2013} } @article{hoglund_cell_2015, title = {\textit{{Cell}}, {Stephen} {King} and the {Imperial} {Gothic}}, volume = {17}, doi = {10.7227/GS.17.2.5}, abstract = {This essay argues that Stephen King's 2006 novel Cell explores the age of terror with the aid of two concurrent Gothic discourses. The first such discourse belongs to the tradition that Patrick Brantlinger has termed Imperial Gothic. As such, it imagines with the War on Terror that the threat that the (Gothic) Other constitutes is most usefully managed with the help of massive, military violence. The other, and more traditional, Gothic discourse radically imagines such violence as instead a War of Terror. The essay then argues that Cell does not attempt to reconcile these opposed positions to terror. Instead, the novel employs the two Gothic discourses to describe the epistemological rift that terror inevitably creates.}, number = {2}, journal = {Gothic Studies}, author = {Höglund, Johan}, month = nov, year = {2015}, pages = {69--87} } @article{bishop_new_2015, title = {The {New} {American} {Zombie} {Gothic}: {Road} {Trips}, {Globalisation}, and the {War} on {Terror}}, volume = {17}, shorttitle = {The {New} {American} {Zombie} {Gothic}}, doi = {10.7227/GS.0003}, abstract = {American zombie Gothic films have changed markedly in their tone, style, and structure since September 11, an evolution that expands the Gothic mode to include the mobility of the narratives' protagonists, a popularisation of the movies, and an increased engagement with a multi-ethnic, international community. To remain timely, relevant, and commercially viable, such alterations must occur, and these shifts in particular can best be explained by the changing cinematic marketplace, the influence of videogames, and the policies and anxieties resulting from the (inter)national trauma of 9/11 and the War on Terror. This essay examines the film version of World War Z as a key text for exploring the current transition from a localised siege narrative to an international kind of 'road trip' movie, a shift largely tied to the popularity of zombie-themed videogames.}, number = {2}, journal = {Gothic Studies}, author = {Bishop, Kyle William}, month = nov, year = {2015}, keywords = {Post-9/11 Omnicrisis}, pages = {42--56} } @article{blake_are_2015, title = {'{Are} {We} {Worth} {Saving}? {You} {Tell} {Me}': {Neoliberalism}, {Zombies} and the {Failure} of {Free} {Trade}}, volume = {17}, shorttitle = {'{Are} {We} {Worth} {Saving}?}, doi = {10.7227/GS.17.2.3}, abstract = {The popular cultural ubiquity of the zombie in the years following the Second World War is testament to that monster' s remarkable ability to adapt to the social anxieties of the age. From the red-scare zombie-vampire hybrids of I Am Legend (1954) onwards, the abject alterity of the ambulant dead has been deployed as a means of interrogating everything from the war in Vietnam (Night of the Living Dead, 1968) to the evils of consumerism (Dawn of the Dead, 1978). This essay explores how, in the years since 9/11, those questions of ethnicity and gender, regionality and power that have haunted the zombie narrative since 1968 have come to articulate the social and cultural dislocations wrought by free-market economics and the' shock doctrines' that underscore the will to global corporatism. The article examines these dynamics through consideration of the figure of the zombie in a range of contemporary cultural texts drawn from film, television, graphicfi ction, literature and gaming, each of which articulates a sense not only neo-liberalism itself has failed but simply won't lie down and die. It is therefore argued that in an age of corporate war and economic collapse, community breakdown and state-sanctioned torture, the zombie apocalypse both realises and works through the failure of the free market, its victims shuffling through the ruins, avatars of the contemporary global self.}, number = {2}, journal = {Gothic Studies}, author = {Blake, Linnie}, month = nov, year = {2015}, keywords = {Capitalism/Class}, pages = {26--41} } @article{edwards_zombie_2015, title = {Zombie {Terrorism} in an {Age} of {Global} {Gothic}}, volume = {17}, doi = {10.7227/GS.17.2.2}, abstract = {With reference to films such as The Terror Experiment (2010) and Osombie (2012), this paper explores the figure of the zombie terrorist, a collectively othered group that is visually identifiable as 'not us' and can be slaughtered with impunity. In cinematic treatments, the zombie terrorist operates within a collectivity of zombies, erasing the possibility of individuality when the transformation from human to zombie takes place. The zombie terrorist signifies otherness in relation to selfhood, and is characterised by a mind/body split. Emerging from the grave in the archetypal zombie primal scene, this reanimated corpse is undead in its animate corporeality coupled with a loss of all mental faculties. The erasure of individual identity and memory along with broader human characteristics such as empathy or willpower coincides with the zombie terrorist' s physical movement and action.}, number = {2}, journal = {Gothic Studies}, author = {Edwards, Justin D.}, month = nov, year = {2015}, pages = {12--25} } @article{tenga_vampire_2013, title = {Vampire {Gentlemen} and {Zombie} {Beasts}: {A} {Rendering} of {True} {Monstrosity}}, volume = {15}, shorttitle = {Vampire {Gentlemen} and {Zombie} {Beasts}}, doi = {10.7227/GS.15.1.8}, abstract = {Many vampires in popular fiction have developed a conscience that mitigates their monstrosity and makes them objects of human love and admiration. With the advent of the reformed vampire, Western culture has, perhaps, lost an icon of true horror. As the vampire has become increasingly humanized and sympathetic, the zombie has stepped up to take its place. Zombies remind us that we will soon be decomposing flesh; the zombie horde embodies fear of loss of self and individuality; zombies expose the dark side of mass consumer culture; and zombies highlight the fragility of human identity in an advanced, globalised society.}, number = {1}, journal = {Gothic Studies}, author = {Tenga, Angela and Zimmerman, Elizabeth}, month = may, year = {2013}, pages = {76--87} } @book{fischer-hornung_vampires_2016, address = {Jackson}, title = {Vampires and {Zombies}: {Transcultural} {Migrations} and {Transnational} {Interpretations}}, isbn = {978-1-4968-0477-8}, shorttitle = {Vampires and {Zombies}}, abstract = {The undead are very much alive in contemporary entertainment and lore. Indeed, vampires and zombies have garnered attention in print media, cinema, and on television. The vampire, with roots in medieval European folklore, and the zombie, with origins in Afro-Caribbean mythology, have both undergone significant transformations in global culture, proliferating as deviant representatives of the zeitgeist.As this volume demonstrates, distribution of vampires and zombies across time and space has revealed these undead figures to carry multiple meanings. Of all monsters, vampires and zombies seem to be the trendiest—the most regularly incarnate of the undead and the monsters most frequently represented in the media and pop culture. Moreover, both figures have experienced radical reinterpretations. If in the past vampires were evil, blood-sucking exploiters and zombies were brainless victims, they now have metamorphosed into kinder and gentler blood-sucking vampires and crueler, more relentless, flesh-eating zombies.Although the portrayals of both vampires and zombies can be traced back to specific regions and predate mass media, the introduction of mass distribution through film and game technologies has significantly modified their depiction over time and in new environments. Among other topics, contributors discuss zombies in Thai films, vampire novels of Mexico, and undead avatars in horror videogames. This volume—with scholars from different national and cultural backgrounds—explores the transformations that the vampire and zombie figures undergo when they travel globally and through various media and cultures.}, language = {en}, publisher = {University Press of Mississippi}, editor = {Fischer-Hornung, Dorothea and Mueller, Monika}, month = feb, year = {2016} } @article{pulliam_our_2009, title = {Our {Zombies}, {Ourselves}: {Exiting} the {Foucauldian} {Universe} in {George} {A}. {Romero}'s \textit{{Land} of the {Dead}}}, volume = {20}, issn = {0897-0521}, shorttitle = {Our {Zombies}, {Ourselves}}, url = {https://www.questia.com/library/journal/1G1-218950938/our-zombies-ourselves-exiting-the-foucauldian-universe}, abstract = {IN GEORGE A. ROMERO'S NIGHT OF THE LIVING DEAD SERIES, HUMANS STRUGGLE in a post-apocalyptic...}, language = {eng}, number = {1}, urldate = {2016-05-12}, journal = {Journal of the Fantastic in the Arts}, author = {Pulliam, June}, month = jan, year = {2009}, pages = {42--56} } @book{russell_book_2014, address = {London}, edition = {First edition, updated and fully revised}, title = {Book of the {Dead}: {The} {Complete} {History} of {Zombie} {Cinema}}, isbn = {978-1-78116-925-4}, shorttitle = {Book of the dead}, publisher = {Titan Books}, author = {Russell, Jamie}, year = {2014} } @incollection{pulliam_zombie_2007, address = {Westport}, title = {The {Zombie}}, volume = {2}, language = {en}, booktitle = {Icons of {Horror} and the {Supernatural}: an {Encyclopedia} of {Our} {Worse} {Nightmares}}, publisher = {Greenwood Press}, author = {Pulliam, June}, editor = {Joshi, S.T.}, year = {2007}, pages = {723--753} } @book{paffenroth_gospel_2006, address = {Waco, TX}, title = {Gospel of the {Living} {Dead}: {George} {Romero}'s {Visions} of {Hell} on {Earth}}, isbn = {978-1-932792-65-2}, shorttitle = {Gospel of the {Living} {Dead}}, abstract = {Winner of the 2006 Bram Stoker Award, Gospel of the Living Dead connects American social and religious views with the classic American movie genre of the zombie horror film. For nearly forty years, the films of George A. Romero have presented viewers with hellish visions of our world overrun by flesh-eating ghouls. This study proves that Romero's films, like apocalyptic literature or Dante's Commedia, go beyond the surface experience of repulsion to probe deeper questions of human nature and purpose, often giving a chilling and darkly humorous critique of modern, secular America.}, language = {en}, publisher = {Baylor University Press}, author = {Paffenroth, Kim}, year = {2006} } @incollection{murphy_aliens_2009, address = {Houndmills; New York}, title = {Aliens, {Androids} and {Zombies}: {Dehumanisation} and the {Suburban} {Gothic}}, copyright = {©2009 Bernice M. Murphy}, isbn = {978-1-349-30418-9 978-0-230-24475-7}, shorttitle = {Aliens, {Androids} and {Zombies}}, url = {http://link.springer.com/chapter/10.1057/9780230244757_4}, abstract = {From the very beginnings of post-war suburban development, the characteristic which most disturbed those who disliked the new communities springing up all over the nation was their supposed ‘sameness’ and homogeneity. During the 1950s, critics of suburbia ‘watched conformity spreading across the land, and attributed its spread to the concurrent phenomenon of suburbanisation. People moved to the suburbs, such arguments ran, and the suburbs made people conformist’.1 In this chapter I will discuss the ways in which this perception of suburbia as a repetitive, repressive milieu which posed a very real threat to individualism has been expressed in texts which vividly dramatise powerful post-war fears of dehumanisation and creeping conformity. The obvious preoccupation of 1950s and 1960s American science fiction and horror with such issues has typically been seen as the product of contemporary Cold War anxieties, but I will argue that it can equally be attributed to the insecurities caused by the unprecedented social, economic and cultural changes which took place in the United States at the same time. As one of the most visible manifestations of such changes, the rapidly spreading suburbs — so often likened to a ‘disease’ or an ‘invader’ by their many detractors — became an obvious influence upon gothic and horror-themed texts of this nature.}, language = {en}, urldate = {2016-05-13}, booktitle = {The {Suburban} {Gothic} in {American} {Popular} {Culture}}, publisher = {Palgrave Macmillan}, author = {Murphy, Bernice M.}, year = {2009}, note = {DOI: 10.1057/9780230244757\_4}, pages = {69--103} } @incollection{waller_night_1987, address = {Urbana, IL}, title = {\textit{{Night} of the {Living} {Dead}}: {It}’s {Not} {Like} {Just} a {Wind} {That}’s {Passing} {Through}}, isbn = {978-0-252-01448-2}, abstract = {Since the release of Rosemary's Baby in 1968, the American horror film has become one of the most diverse, commercially successful, widely discussed, and culturally significant film genres. Drawing on a wide range of critical methods, this title examines individual films, directors, and subgenres.}, language = {en}, booktitle = {American {Horrors}: {Essays} on the {Modern} {American} {Horror} {Film}}, publisher = {University of Illinois Press}, author = {Dillard, Richard H.W.}, editor = {Waller, Gregory Albert}, year = {1987}, pages = {14--29} } @incollection{cooke_plague_2009, address = {Houndmills; New York}, title = {Plague, {Zombies} and the {Hypnotic} {Relation}: {Romero} and {After}}, isbn = {978-0-230-21934-2}, booktitle = {Legacies of {Plague} in {Literature}, {Theory} and {Film}}, publisher = {Palgrave Macmillan}, author = {Cooke, Jennifer}, year = {2009}, pages = {163--184} } @incollection{peaty_infected_2011, address = {Liverpool}, title = {Infected with {Life}: {Neosupernaturalism} and the {Gothic} {Zombie}}, booktitle = {Gothic {Science} {Fiction} 1980–2010}, publisher = {Liverpool University Press}, author = {Peaty, Gwyneth}, editor = {Wasson, Sara and Alder, Emily}, year = {2011}, pages = {102--115} } @incollection{botting_zombie_2011, address = {Liverpool}, title = {Zombie {Death} {Drive}: {Between} {Gothic} and {Science} {Fiction}}, booktitle = {Gothic {Science} {Fiction} 1980–2010}, publisher = {Liverpool University Press}, author = {Botting, Fred}, editor = {Wasson, Sara and Alder, Emily}, year = {2011}, pages = {36--54} } @book{asma_monsters:_2011, address = {Oxford; New York}, title = {On {Monsters}: {An} {Unnatural} {History} of {Our} {Worst} {Fears}}, isbn = {978-0-19-979809-4}, shorttitle = {On {Monsters}}, abstract = {Hailed as "a feast" (Washington Post) and "a modern-day bestiary" (The New Yorker), Stephen Asma's On Monsters is a wide-ranging cultural and conceptual history of monsters--how they have evolved over time, what functions they have served for us, and what shapes they are likely to take in the future. Beginning at the time of Alexander the Great, the monsters come fast and furious--Behemoth and Leviathan, Gog and Magog, Satan and his demons, Grendel and Frankenstein, circus freaks and headless children, right up to the serial killers and terrorists of today and the post-human cyborgs of tomorrow. Monsters embody our deepest anxieties and vulnerabilities, Asma argues, but they also symbolize the mysterious and incoherent territory beyond the safe enclosures of rational thought. Exploring sources as diverse as philosophical treatises, scientific notebooks, and novels, Asma unravels traditional monster stories for the clues they offer about the inner logic of an era's fears and fascinations. In doing so, he illuminates the many ways monsters have become repositories for those human qualities that must be repudiated, externalized, and defeated.}, language = {en}, publisher = {Oxford University Press}, author = {Asma, Stephen T.}, month = sep, year = {2011} } @book{dendle_zombie_2011, address = {Jefferson, NC}, title = {The {Zombie} {Movie} {Encyclopedia}, {Volume} 2: 2000–2010}, isbn = {978-0-7864-6367-1}, publisher = {Mcfarland}, author = {Dendle, Peter}, year = {2011} } @book{dendle_zombie_2001, address = {Jefferson, NC}, title = {The {Zombie} {Movie} {Encyclopedia}}, isbn = {978-0-7864-0859-7 978-0-7864-6163-9}, publisher = {McFarland}, author = {Dendle, Peter}, year = {2001} } @article{davis_zombies_2015, title = {Zombies in {America} and at {Qumran}: {AMC}'s \textit{{The} {Walking} {Dead}}, the {Dead} {Sea} {Scrolls}, and {Apocalyptic} {Redux}}, volume = {27}, shorttitle = {Zombies in {America} and at {Qumran}}, url = {http://muse.jhu.edu/journals/journal_of_religion_and_popular_culture/v027/27.2.davis.html}, number = {2}, urldate = {2016-05-13}, journal = {Journal of Religion and Popular Culture}, author = {Davis, Kipp}, year = {2015}, pages = {148--163} } @article{brioni_zombies_2013, title = {Zombies and the {Post}-colonial {Italian} {Unconscious}}, volume = {4}, url = {http://www.cinergie.it/?p=3290}, urldate = {2016-05-13}, journal = {Cinergie: Il Cinema e le altre Arti}, author = {Brioni, Simone}, year = {2013}, keywords = {Postcolonialism/Race}, pages = {166--182} } @article{loudermilk_eating_2003, title = {Eating ‘{Dawn}’ in the {Dark} {Zombie} {Desire} and {Commodified} {Identity} in {George} {A}. {Romero}’s \textit{{Dawn} of the {Dead}}}, volume = {3}, issn = {1469-5405, 1741-2900}, url = {http://joc.sagepub.com/content/3/1/83}, doi = {10.1177/1469540503003001228}, abstract = {Romero’s masterpiece about cannibal zombies plaguing the world is set in a US shopping center, redefining the zombie so as to infect consumer identity. The popular perception of mindless consumer as zombie is owed strictly to Dawn of the Dead (1979), and extends far beyond the film’s genre, demographics and era. This film - itself a commodity - has earned a place in the American imagination by undermining that very imagination’s dependence on commodity culture. A combination of film analysis, cultural studies and personal narrative, this essay endeavors to tell the story of the story called Dawn of the Dead by locating the postmodern zombie historically in popular culture, analyzing the film as a satire of what Romero calls ‘the false security of consumer society’, exploring Dawn as a commodity itself (one appropriated by the very consumer culture Romero sought to subvert), considering Dawn as a master tale spawning ‘rip-offs’ and hybrids, and articulating all the while the parallels between Dawn’s postmodern zombie and the North American consumer.}, language = {en}, number = {1}, urldate = {2016-05-13}, journal = {Journal of Consumer Culture}, author = {Loudermilk, A.}, month = jan, year = {2003}, pages = {83--108} } @book{levina_monster_2013, address = {London}, title = {Monster {Culture} in the 21st {Century}: {A} {Reader}}, language = {en}, publisher = {Bloomsbury}, editor = {Levina, Marina and Bui, Diem-My T.}, year = {2013} } @incollection{castillo_limits_2016, address = {Houndmills; New York}, title = {The {Limits} of {Zombies}: {Monsters} for a {Neoliberal} {Age}}, isbn = {978-1-137-56772-7}, url = {http://www.myilibrary.com?id=879843}, language = {English}, urldate = {2016-05-13}, booktitle = {Zombie {Talk}: {Culture}, {History}, {Politics}}, publisher = {Palgrave Macmillan}, author = {Schmid, David}, editor = {Castillo, David R. and Schmid, David and Reilly, David A. and Browning, John Edgar}, year = {2016}, pages = {92--107} } @incollection{castillo_coming_2016, address = {Houndmills; New York}, title = {The {Coming} {Apocalypses} of {Zombies} and {Globalization}}, isbn = {978-1-137-56772-7}, url = {http://www.myilibrary.com?id=879843}, language = {English}, urldate = {2016-05-13}, booktitle = {Zombie {Talk}: {Culture}, {History}, {Politics}}, publisher = {Palgrave Macmillan}, author = {Reilly, David A.}, editor = {Castillo, David R. and Schmid, David and Reilly, David A. and Browning, John Edgar}, year = {2016}, pages = {63--91} } @incollection{castillo_zombie_2016, address = {Houndmills; New York}, title = {Zombie {Masses}: {Monsters} for the {Age} of {Global} {Capitalism}}, isbn = {978-1-137-56772-7}, url = {http://www.myilibrary.com?id=879843}, language = {English}, urldate = {2016-05-13}, booktitle = {Zombie {Talk}: {Culture}, {History}, {Politics}}, publisher = {Palgrave Macmillan}, author = {Castillo, David R.}, editor = {Castillo, David R. and Schmid, David and Reilly, David A. and Browning, John Edgar}, year = {2016}, pages = {39--62} } @incollection{castillo_survival_2016, address = {Houndmills; New York}, title = {Survival {Horrors}, {Survival} {Spaces}: {Tracing} the {Modern} {Zombie} ({Cine}){Myth} through to the {Postmillennium}}, isbn = {978-1-137-56772-7}, url = {http://www.myilibrary.com?id=879843}, language = {English}, urldate = {2016-05-13}, booktitle = {Zombie {Talk}: {Culture}, {History}, {Politics}}, publisher = {Palgrave Macmillan}, author = {Browning, John Edgar}, editor = {Castillo, David R. and Schmid, David and Reilly, David A. and Browning, John Edgar}, year = {2016}, pages = {9--38} } @book{castillo_zombie_2016-1, address = {Houndmills; New York}, title = {Zombie {Talk}: {Culture}, {History}, {Politics}}, isbn = {978-1-137-56772-7}, url = {http://www.myilibrary.com?id=879843}, language = {English}, urldate = {2016-05-13}, publisher = {Palgrave Macmillan}, editor = {Castillo, David R. and Schmid, David and Reilly, David A. and Browning, John Edgar}, year = {2016}, keywords = {General} } @incollection{laraway_teenage_2012, address = {Houndmills; New York}, title = {Teenage {Zombie} {Wasteland}: {Suburbia} after the {Apocalypse} in {Mike} {Wilson}’s {Zombie} and {Edmundo} {Paz} {Soldán}’s {Los} vivos y los muertos}, copyright = {©2012 M. Elizabeth Ginway and J. Andrew Brown}, isbn = {978-1-349-44809-8 978-1-137-31277-8}, shorttitle = {Teenage {Zombie} {Wasteland}}, url = {http://link.springer.com/chapter/10.1057/9781137312778_8}, abstract = {Awit once remarked that the surest sign that a cultural trend is dead is that Newsweek has finally reported on it. It’s scarcely possible these days to broach the topic of the zombie in pop culture without feeling something like a hapless Newsweek editor trying to meet a deadline. Once the exclusive province of B-movie connoisseurs and, rather more exotically, philosophers of mind, the zombie as a trope had no doubt jumped the shark long before Pride and Prejudice and Zombies had rocketed up the New York Times best-seller list. Of course, the theorization of the zombie has proceeded apace as well, even if it has yet to find its definitive critical articulation: to date, nothing comparable to Donna Haraway’s work on the cyborg has appeared with respect to the zombie, even if some interesting work has been done in that vein. 1 Perhaps this is because the zombie has seemed to so many readers and film viewers an almost self-interpreting figure, an embarrassingly literal incarnation of the drive to cannibalize and consume that seems to reflect, perhaps a little too neatly, our own late capitalist moment. 2 But if the ubiquity of the zombie in popular culture suggests that the trend may be somehow exhausted, that’s no problem either, since the whole point of the zombie is that you can’t really kill something that’s already dead in the first place.}, language = {en}, urldate = {2016-05-13}, booktitle = {Latin {American} {Science} {Fiction}}, publisher = {Palgrave Macmillan}, author = {Laraway, David}, editor = {Ginway, M. Elizabeth and Brown, J. Andrew}, year = {2012}, note = {DOI: 10.1057/9781137312778\_8}, pages = {133--151} } @incollection{mckenna_walking_2015, address = {Houndmills; New York}, title = {The {Walking} {Dead}: {The} {Archetype} of the {Zombie} in the {Modern} {Epoch}}, copyright = {©2015 Tony McKenna}, isbn = {978-1-349-55378-5 978-1-137-52661-8}, shorttitle = {The {Walking} {Dead}}, url = {http://link.springer.com/chapter/10.1057/9781137526618_4}, abstract = {Based on a comic book of the same name, The Walking Dead is a TV series which depicts the aftermath of a zombie apocalypse, in which a group of survivors try to navigate the remnants of a ravaged world. Led by police officer Rick Grimes, they band together for protection against the threat of the ‘walkers’: the undead creatures perpetually trudging across the broken landscape, looking for survivors to gorge on and ‘turn’ — that is, transform into fellow zombies. The series has drawn both critical and popular acclaim, and is very much the epicentre of a zombie renaissance that has flourished over the last few years. This renaissance has seen everything from the zombie popping up as the central love interest (Warm Bodies) to the more deathly proposition of a team of extremist right-winger zombies with a penchant for the Prussian goose step (Dead Snow).}, language = {en}, urldate = {2016-05-13}, booktitle = {Art, {Literature} and {Culture} from a {Marxist} {Perspective}}, publisher = {Palgrave Macmillan}, author = {McKenna, Tony}, year = {2015}, note = {DOI: 10.1057/9781137526618\_4}, pages = {33--42} } @incollection{conrich_infected_2015, address = {Houndmills; New York}, title = {An {Infected} {Population}: {Zombie} {Culture} and the {Modern} {Monstrous}}, copyright = {©2015 Ian Conrich}, isbn = {978-1-349-44667-4 978-1-137-27650-6}, shorttitle = {An {Infected} {Population}}, url = {http://link.springer.com/chapter/10.1057/9781137276506_2}, abstract = {Like a contagion, the modern horror film has spread from the screen — where it was relatively contained — and into the streets and homes beyond. Horror movies have now successfully penetrated computer games, toy stores and fancy dress shops, with innocent children seduced by the opportunity to wear replica costumes of the screen’s most hideous creatures. Leading this monster invasion is a zombie culture that has infected a willing population, albeit a hungry horde of part-timers feeding off a consumer culture.}, language = {en}, urldate = {2016-05-13}, booktitle = {The {Zombie} {Renaissance} in {Popular} {Culture}}, publisher = {Palgrave Macmillan}, author = {Conrich, Ian}, editor = {Hubner, Laura and Leaning, Marcus and Manning, Paul}, year = {2015}, note = {DOI: 10.1057/9781137276506\_2}, pages = {15--25} } @incollection{venables_zombies_2015, address = {Houndmills; New York}, title = {Zombies, a {Lost} {Literary} {Heritage} and the {Return} of the {Repressed}}, copyright = {©2015 Toby Venables}, isbn = {978-1-349-44667-4 978-1-137-27650-6}, url = {http://link.springer.com/chapter/10.1057/9781137276506_14}, abstract = {Whilst not quite a truth universally acknowledged, a claim frequently made about zombie culture is that it has ‘no literary heritage’. By this, what is usually meant is that there is no ‘classic’ zombie novel — no equivalent of Dracula, Frankenstein or Dr Jekyll and Mr Hyde. Even in the accepted pantheon of classic Western horror monsters, the zombie is a freak and an outcast — at least as far as its literary standing is concerned.}, language = {en}, urldate = {2016-05-13}, booktitle = {The {Zombie} {Renaissance} in {Popular} {Culture}}, publisher = {Palgrave Macmillan}, author = {Venables, Toby}, editor = {Hubner, Laura and Leaning, Marcus and Manning, Paul}, year = {2015}, note = {DOI: 10.1057/9781137276506\_14}, pages = {208--223} } @incollection{mason_galvanic_2015, address = {Houndmills; New York}, title = {The {Galvanic} ‘{Unhuman}’: {Technology}, the {Living} {Dead} and the ‘{Animal}-{Machine}’ in {Literature} and {Culture}}, copyright = {©2015 Fran Mason}, isbn = {978-1-349-44667-4 978-1-137-27650-6}, shorttitle = {The {Galvanic} ‘{Unhuman}’}, url = {http://link.springer.com/chapter/10.1057/9781137276506_13}, abstract = {The history of the zombie is part of a larger set of discourses generated out of industrial modernity relating to notions of the ‘unhuman’ and concepts of ‘unlife’ that develop from unease over the intersection of technology and human life. Beginning with the golem of Mary Shelley’s Frankenstein, a collection of dead body parts galvanised into life, such concerns continue through twentieth-century modernity into the present to include undead things such as zombies, which are created by the diseases or viruses that first destroy the vestiges of the human life before returning the zombie to unthinking mobility, and in technological life-forms such as robots and cyborgs, where technology animates machine-life or reanimates and modifies the human to extend it into the posthuman. Initial concerns with the simulation of life and its threat to the status of humanity develop different narratives within representation that further question, for example, the claims of humans to have exclusive access to consciousness, autonomy and agency (androids and AIs) or generate in the cyborg a postmodern blurring of boundaries that collapses distinctions between living and dead, subject and object, or human and machine. Within this, the conceptualisation of zombies as living dead is important because of the permeation of speculative and science-fiction texts by the technological zombie (robots, androids, cyborgs), a creature that is variously either empty of consciousness, delibidinalised or animated into life by technology rather than by what are referred to in H.P. Lovecraft’s ‘Herbert West — Reanimator’ as natural ‘life-motions’ (Lovecraft, 2008, p. 35) intrinsic to a self-regulating organism.}, language = {en}, urldate = {2016-05-13}, booktitle = {The {Zombie} {Renaissance} in {Popular} {Culture}}, publisher = {Palgrave Macmillan}, author = {Mason, Fran}, editor = {Hubner, Laura and Leaning, Marcus and Manning, Paul}, year = {2015}, note = {DOI: 10.1057/9781137276506\_13}, pages = {193--207} } @incollection{austin_zombie_2015, address = {Houndmills; New York}, title = {Zombie {Culture}: {Dissent}, {Celebration} and the {Carnivalesque} in {Social} {Spaces}}, copyright = {©2015 Emma Austin}, isbn = {978-1-349-44667-4 978-1-137-27650-6}, shorttitle = {Zombie {Culture}}, url = {http://link.springer.com/chapter/10.1057/9781137276506_12}, abstract = {Given the current popularity of the social phenomena known as zombie walks, it seems timely to interrogate what cultural meanings both the zombie walk and the zombie body hold. The zombie walk is essentially a social gathering of a number of people who dress and act as zombies in a predetermined social space and for a set amount of time: this chapter does not have space to discuss flash mobs, or the newer phenomena of zombie obstacle runs, but we can consider them as part of an overall popular cultural response to fictional depictions of the dead body, which is the main focus of this writing. Starting with a discussion of the dead body and how responses to death are both social and also spatial, we can fruitfully use the ideas of abjection, liminality and the ‘other’ to position the zombie body as socially meaningful. From this a discussion of fictional uses of the zombie, in particular its incursion into social space and how it may offer a representation of carnival through the grotesque body, is offered. This focuses on Rémi Astrucs’ contemporary re-evaluation of Mikhail Bakhtin’s seminal work on the carnival and grotesque. Finally, a discussion of other social gatherings and how their uses may indicate a thematic framework for evaluating zombie walks is considered. Characterisations of zombie walks offered here are based on informal observation of two zombie walks — Brighton’s Beach of the Dead in 2011 and the first zombie walk in Portsmouth, 2010 — and further viewing of several fan videos of zombie walks online; all of which are meant as illustrative, not definitive summaries of behaviours and costumes.1}, language = {en}, urldate = {2016-05-13}, booktitle = {The {Zombie} {Renaissance} in {Popular} {Culture}}, publisher = {Palgrave Macmillan}, author = {Austin, Emma}, editor = {Hubner, Laura and Leaning, Marcus and Manning, Paul}, year = {2015}, note = {DOI: 10.1057/9781137276506\_12}, keywords = {Comedy/Carnivalesque}, pages = {174--190} } @incollection{manning_zombies_2015, address = {Houndmills; New York}, title = {Zombies, {Zomedies}, {Digital} {Fan} {Cultures} and the {Politics} of {Taste}}, copyright = {©2015 Paul Manning}, isbn = {978-1-349-44667-4 978-1-137-27650-6}, url = {http://link.springer.com/chapter/10.1057/9781137276506_11}, abstract = {This chapter seeks to draw together insights from the earlier debates about fan cultures and the politics of taste with more recent commentaries on fan practices and digital technologies. It will first consider the suggestion that the recent proliferation of zombie cultural artefacts is a product of the post 9/11 ‘cultural consciousness’ or whether we need to look beyond the properties of particular zombie texts to the wider cultural infrastructures, particularly fan cultures and the digital ‘paratexts’ (Kackman et al., 2011, p. 2) that exist in interdependence with zombie texts. The ‘almost straight to DVD’ film Zombies of Mass Destruction (Hamedani, 2009) will be discussed as a case study and means of exploring the importance of online fan practices in zombie culture because as a self-conscious ‘zomedy’ it has provoked interesting and extreme fan reactions.}, language = {en}, urldate = {2016-05-13}, booktitle = {The {Zombie} {Renaissance} in {Popular} {Culture}}, publisher = {Palgrave Macmillan}, author = {Manning, Paul}, editor = {Hubner, Laura and Leaning, Marcus and Manning, Paul}, year = {2015}, note = {DOI: 10.1057/9781137276506\_11}, pages = {160--173} } @incollection{leaning_mumsnet_2015, address = {Houndmills; New York}, title = {Mumsnet {Zombies}: {Surviving} the {Zombie} {Apocalypse} on {Mumsnet} and {YouTube}}, copyright = {©2015 Marcus Leaning}, isbn = {978-1-349-44667-4 978-1-137-27650-6}, shorttitle = {Mumsnet {Zombies}}, url = {http://link.springer.com/chapter/10.1057/9781137276506_10}, abstract = {This chapter explores the manner in which zombies can be examined as a device through which we may consider social anxieties. The chapter concludes by asserting that zombies have been used as a device through which we can understand and deal with contemporary social problems and other forms of ‘risk’. I argue they are a tool that is used to engage with risk and to ameliorate the psychological impact of the possibility of calamitous disasters.}, language = {en}, urldate = {2016-05-13}, booktitle = {The {Zombie} {Renaissance} in {Popular} {Culture}}, publisher = {Palgrave Macmillan}, author = {Leaning, Marcus}, editor = {Hubner, Laura and Leaning, Marcus and Manning, Paul}, year = {2015}, note = {DOI: 10.1057/9781137276506\_10}, pages = {141--159} } @incollection{reed_zombies_2015, address = {Houndmills; New York}, title = {Zombies and the {Sociological} {Imagination}: \textit{{The} {Walking} {Dead}} as {Social}-{Science} {Fiction}}, copyright = {©2015 Darren Reed and Ruth Penfold-Mounce}, isbn = {978-1-349-44667-4 978-1-137-27650-6}, shorttitle = {Zombies and the {Sociological} {Imagination}}, url = {http://link.springer.com/chapter/10.1057/9781137276506_9}, abstract = {What is scarier than a dead body that moves? A key dynamic of the zombie genre is the ‘re-animation’ of lifeless corpses, granting movement where there should be none. At their inception, they are characterised by (unnatural) movement and (heightened) emotion. However, there is more to the zombie genre than it simply being frightening and gruesomely violent. Zombies, and more particularly the zombie apocalypse, are a backdrop and context for human drama. They allow a commentary on issues of consumerism, interpersonal cooperation and conflict, gender and race relations, highlighting that ‘Zombie films are about the humans. They [the humans] are the problem’.1 The mechanism by which they draw out these issues is by disorienting the audience through the depiction of extremes (violence and depravity such as cannibalism) and then reorienting audience experience through the narrative structure to make an ‘unsettling point, usually a sociological, anthropological, or theological one’ (Paffenroth, 2006, p. 2). We are less concerned with repeating these points than looking to extend beyond this content to grapple with wider conceptual issues. The zombie genre’s narrative energy is premised upon a ‘what if question, set in a fantasy world. In this sense such enquiries draw upon the concept of social-science fiction whereby fiction can encourage engagement of a non-sociologist with social-science themes and issues (Penfold-Mounce et al., 2011) through speculative ‘breeching’ (Garfinkel, 1967) or sociological provocation — in this case a playful evocation of ‘anti-structure’ (Turner, 1969).}, language = {en}, urldate = {2016-05-13}, booktitle = {The {Zombie} {Renaissance} in {Popular} {Culture}}, publisher = {Palgrave Macmillan}, author = {Reed, Darren and Penfold-Mounce, Ruth}, editor = {Hubner, Laura and Leaning, Marcus and Manning, Paul}, year = {2015}, note = {DOI: 10.1057/9781137276506\_9}, pages = {124--138} } @incollection{hunt_utilitarian_2015, address = {Houndmills; New York}, title = {A {Utilitarian} {Antagonist}: {The} {Zombie} in {Popular} {Video} {Games}}, copyright = {©2015 Nathan Hunt}, isbn = {978-1-349-44667-4 978-1-137-27650-6}, shorttitle = {A {Utilitarian} {Antagonist}}, url = {http://link.springer.com/chapter/10.1057/9781137276506_8}, abstract = {Although not the first horror game Resident Evil, released by developer Capcom in 1996 for the Sony Playstation, certainly helped to popularise horror games, spawning numerous sequels and imitators, not to mention a successful film franchise. Much game scholarship has focused on this game and its role in the establishment and determination of the survival horror game. But, although the game is certainly legitimately established as canon in this respect, it is odd that, given the importance of representations in horror games, one of the central aspects of this horror, the zombie, is largely ignored in favour of situating the game within broader genre categories.}, language = {en}, urldate = {2016-05-13}, booktitle = {The {Zombie} {Renaissance} in {Popular} {Culture}}, publisher = {Palgrave Macmillan}, author = {Hunt, Nathan}, editor = {Hubner, Laura and Leaning, Marcus and Manning, Paul}, year = {2015}, note = {DOI: 10.1057/9781137276506\_8}, pages = {107--123} } @incollection{dipple_rocking_2015, address = {Houndmills; New York}, title = {Rocking with the {Undead}: {How} {Zombies} {Infected} the {Psychobilly} {Subculture}}, copyright = {©2015 Jane Dipple}, isbn = {978-1-349-44667-4 978-1-137-27650-6}, shorttitle = {Rocking with the {Undead}}, url = {http://link.springer.com/chapter/10.1057/9781137276506_7}, abstract = {The zombie has not only infected film and literature, but can also be found lurking in unexpected areas of popular culture. This chapter examines the relationship between psychobilly subculture and zombie mythology. The focus here is on the inception and early development of psychobilly in the 1980s as a means of expression and identity for the disaffected and culturally isolated youth, in an emerging conservative capitalist society, acting as a challenge to dominant ideological discourses. The psychobilly resists the powerful through an illusory celebration of death, adopting practices associated with the Danse Macabre, carnivalesque and fabulation. As Scholes (in Arva, 2008: 67) argues, in keeping with our ‘Cosmic Imagination … [we can] … live as comfortably as any character in fiction’. He further posits, ‘We must see man as himself imagined and being re-imagined, and now able to play a role in the re-imagination of himself.’ The zombie is one of the few cultural metaphors that can be linked directly to fan culture and its influences as opposed to those of the media. It can be used to describe a world after the apocalypse and, unlike other mythical monsters, it has no overriding narrative set out in literature. The psychobilly operates in a world full of reimagining and redefining what it means to be human through subcultural practices.}, language = {en}, urldate = {2016-05-13}, booktitle = {The {Zombie} {Renaissance} in {Popular} {Culture}}, publisher = {Palgrave Macmillan}, author = {Dipple, Jane}, editor = {Hubner, Laura and Leaning, Marcus and Manning, Paul}, year = {2015}, note = {DOI: 10.1057/9781137276506\_7}, pages = {91--106} } @incollection{sanna_consumerism_2015, address = {Houndmills; New York}, title = {Consumerism and the {Undead} {City}: {The} \textit{{Silent} {Hill}} and \textit{{Resident} {Evil}} {Films}}, copyright = {©2015 Antonio Sanna}, isbn = {978-1-349-44667-4 978-1-137-27650-6}, shorttitle = {Consumerism and the {Undead} {City}}, url = {http://link.springer.com/chapter/10.1057/9781137276506_5}, abstract = {In this chapter I examine the representation of urban space in the two Silent Hill films (2006–2012) and the Resident Evil saga (2002–2012). I draw on academic debates that identify the figure of the zombie with the (almost) non-autonomous citizen who is driven by an uncontrollable consumerism. In these franchises, cities are pictured as deserted places, haunted by the monstrous and ghostly remains of humanity. I suggest that such a representation of the city can be interpreted as caused by the consumerism of contemporary society.}, language = {en}, urldate = {2016-05-13}, booktitle = {The {Zombie} {Renaissance} in {Popular} {Culture}}, publisher = {Palgrave Macmillan}, author = {Sanna, Antonio}, editor = {Hubner, Laura and Leaning, Marcus and Manning, Paul}, year = {2015}, note = {DOI: 10.1057/9781137276506\_5}, pages = {56--69} } @incollection{hubner_archiving_2015, address = {Houndmills; New York}, title = {Archiving {Gore}: {Who} {Owns} \textit{{Zombie} {Flesh} {Eaters}}?}, copyright = {©2015 Laura Hubner}, isbn = {978-1-349-44667-4 978-1-137-27650-6}, shorttitle = {Archiving {Gore}}, url = {http://link.springer.com/chapter/10.1057/9781137276506_4}, abstract = {Released in the UK as Zombie Flesh Eaters, Lucio Fulci’s Italian film Zombi 2 (1979) has continued to interest critics, filmmakers and fans with its rich display of set-pieces and citable spectacles. Aside from the more notorious gory moments, the film is also known for its underwater sequence of a zombie and shark in combat and the iconic grand finale of zombies slowly making their way across the bridge to New York, shuffling to the beat of Fabio Frizzi’s rising and repeating synthesiser score. Zombie Flesh Eaters has endured a long and chequered history, which included joining the UK’s video nasty list in October 1983. Since the film’s inception, a number of ‘cut’ and ‘uncut’ versions have been issued, and recently the uncut version was reproduced on DVD and Blu-ray by Blue Underground in October 2011 (as Zombie) and by Arrow Films in December 2012 (as Zombie Flesh Eaters). The generous ‘extras’ on these fresh releases feature the film’s niche-cult status and the growing fan base at conventions and screenings, fuelled by a self-reflexive nostalgia for the film’s B-movie origins and ‘video nasty’ credentials. Today, the internet also functions as a lens to both capture and reinvigorate the original source; the film as historical artefact resonates from the multiple screens of new technology.}, language = {en}, urldate = {2016-05-13}, booktitle = {The {Zombie} {Renaissance} in {Popular} {Culture}}, publisher = {Palgrave Macmillan}, author = {Hubner, Laura}, editor = {Hubner, Laura and Leaning, Marcus and Manning, Paul}, year = {2015}, note = {DOI: 10.1057/9781137276506\_4}, pages = {41--55} } @article{leahy_exit_2014, title = {“{Exit} {Pursued} by a {Zombie}”: {The} {Vampires} {We} {Desire}, the {Shakespeare} {We} {Reject}}, volume = {36}, url = {http://www.jessmorrissette.net/morrissette_zombies_SiPC.pdf}, number = {2}, urldate = {2016-05-13}, journal = {Studies in Popular Culture}, author = {Leahy, William}, year = {2014}, pages = {29--44} } @article{morrissette_zombies_2014, title = {Zombies, {International} {Relations}, and the {Production} of {Danger}: {Critical} {Security} {Studies} versus the {Living} {Dead}}, volume = {36}, url = {http://www.jessmorrissette.net/morrissette_zombies_SiPC.pdf}, number = {2}, urldate = {2016-05-13}, journal = {Studies in Popular Culture}, author = {Morrissette, Jason J.}, year = {2014}, pages = {1--27} } @incollection{drake_zombinations:_2013, address = {London}, title = {Zombinations: {Reading} the {Undead} as {Debt} and {Guilt} in the {National} {Imaginary}}, language = {en}, booktitle = {Monster {Culture} in the 21st {Century}: {A} {Reader}}, publisher = {Bloomsbury}, author = {Drake, Michael S.}, editor = {Levina, Marina and Bui, Diem-My T.}, year = {2013}, pages = {229--242} } @incollection{white_killing_2013, address = {London}, title = {Killing {Whiteness}: {The} {Critical} {Positioning} of {Zombie} {Walk} {Brides} in {Internet} {Settings}}, language = {en}, booktitle = {Monster {Culture} in the 21st {Century}: {A} {Reader}}, publisher = {Bloomsbury}, author = {White, Michele}, editor = {Levina, Marina and Bui, Diem-My T.}, year = {2013}, pages = {209--226} } @article{brummett_what_2013, title = {What {Popular} {Films} {Teach} {Us} about {Values}: {Locked} {Inside} with the {Rage} {Virus}}, volume = {41}, issn = {0195-6051}, shorttitle = {What {Popular} {Films} {Teach} {Us} about {Values}}, url = {http://dx.doi.org/10.1080/01956051.2013.787350}, doi = {10.1080/01956051.2013.787350}, abstract = {Values are general predispositions to thought or action that are generally understood to be encoded in language. But how can we understand texts that seem to be about values and yet are not exclusively linguistic? How can texts that are fantastic, such as science fiction or horror, advise people about which values to embrace? This article argues that values may be conveyed to an audience through the use of form. Using a method of homologies, developed in part from the work of rhetorical theorist Kenneth Burke, this article studies two horror films: Rec and Quarantine. Although neither film is literally about anything that has ever happened to anybody in real life, if we follow the formal structures into which each film may be placed, we understand how each conveys values to an audience. Specifically, each addresses the question of a diverse social environment as encountered in popular media, and each advises its audience to defer to authority. This study is an example of how to use the method of homology in rhetorical analysis. It is also a study of how values may be imparted to an audience in unexpected ways. And it is a study of the two films in question and of their rhetorical impact.}, number = {2}, urldate = {2016-05-13}, journal = {Journal of Popular Film and Television}, author = {Brummett, Barry}, month = apr, year = {2013}, pages = {61--67} } @article{kee_good_2014, title = {Good {Girls} {Don}'t {Date} {Dead} {Boys}: {Toying} with {Miscegenation} in {Zombie} {Films}}, volume = {42}, issn = {0195-6051}, shorttitle = {Good {Girls} {Don}'t {Date} {Dead} {Boys}}, url = {http://dx.doi.org/10.1080/01956051.2014.881772}, doi = {10.1080/01956051.2014.881772}, abstract = {Concerning in-between bodies, zombie films have a unique vantage on miscegenation. Exploring earlier films alongside contemporary romantic comedies, it becomes clear that whereas earlier films shut down symbolic interracial fantasies, contemporary films do not. This isn't without problems, as some films still rescue zombies from zombiness (and hence, their blackness).}, number = {4}, urldate = {2016-05-13}, journal = {Journal of Popular Film and Television}, author = {Kee, Chera}, month = oct, year = {2014}, pages = {176--185} } @article{greene_walking_2014, title = {The {Walking} ({Gendered}) {Dead}: {A} {Feminist} {Rhetorical} {Critique} of {Zombie} {Apocalypse} {Television} {Narrative}}, volume = {52}, shorttitle = {The {Walking} ({Gendered}) {Dead}}, url = {http://cnu.edu/communication/profiles/meyer/pdf/37_2014.pdf}, urldate = {2016-05-13}, journal = {Ohio Communication Journal}, author = {Greene, John and Meyer, Michaela D.E.}, year = {2014}, pages = {64--74} } @incollection{mantz_frontlines_2013, address = {London}, title = {On the {Frontlines} of the {Zombie} {War} in the {Congo}: {Digital} {Technology}, the {Trade} in {Conflict} {Minerals}, and {Zombification}}, language = {en}, booktitle = {Monster {Culture} in the 21st {Century}: {A} {Reader}}, publisher = {Bloomsbury}, author = {Mantz, Jeffrey W.}, editor = {Levina, Marina and Bui, Diem-My T.}, year = {2013}, pages = {177--192} } @incollection{vint_abject_2013, address = {London}, title = {Abject {Posthumanism}: {Neoliberalism}, {Biopolitics}, and {Zombies}}, language = {en}, booktitle = {Monster {Culture} in the 21st {Century}: {A} {Reader}}, publisher = {Bloomsbury}, author = {Vint, Sherryl}, editor = {Levina, Marina and Bui, Diem-My T.}, year = {2013}, pages = {133--146} } @book{lowder_triumph_2011, address = {Dallas}, title = {Triumph of \textit{{The} {Walking} {Dead}}: {Robert} {Kirkman}'s {Zombie} {Epic} on {Page} and {Screen}}, isbn = {978-1-936661-13-8}, shorttitle = {Triumph of {The} walking dead}, publisher = {Smart Pop}, editor = {Lowder, James}, year = {2011} } @article{bishop_raising_2006, title = {Raising the {Dead}: {Unearthing} the {Non}-{Literary} {Origins} of {Zombie} {Cinema}}, volume = {33}, language = {en}, number = {4}, journal = {Journal of Popular Film and Television}, author = {Bishop, Kyle William}, year = {2006}, pages = {196--205} } @incollection{perron_lemergence_2015, address = {Montreal, CA}, title = {L’émergence des {Zombie} studies. {Comment} les morts-vivants ont envahi l’{Académie} et pourquoi nous devrions nous en soucier}, language = {fr}, booktitle = {Z pour {Zombies}}, publisher = {Presses de l’Université de Montréal}, author = {Bishop, Kyle William}, editor = {Perron, Bernard and Leiva, Antonio Dominguez and Archibald, Samuel}, year = {2015}, keywords = {General}, pages = {31--44} } @incollection{bishop_i_2015, address = {Houndmills; New York}, title = {‘{I} always wanted to see how the other half lives’: {The} {Contemporary} {Zombie} as {Seductive} {Proselyte}.}, language = {en}, booktitle = {Zombie {Renaissance} in {Popular} {Culture}}, publisher = {Palgrave Macmillan}, author = {Bishop, Kyle William}, editor = {Hubner, Laura and Leaning, Marcus and Manning, Paul}, year = {2015}, pages = {26--38} } @incollection{bishop_battling_2013, address = {London}, title = {Battling {Monsters} and {Becoming} {Monstrous}: {Human} {Devolution} in \textit{{The} {Walking} {Dead}}}, language = {en}, booktitle = {Monster {Culture} in the 21st {Century}: {A} {Reader}}, publisher = {Bloomsbury}, author = {Bishop, Kyle William}, editor = {Levina, Marina and Bui, Diem-My T.}, year = {2013}, pages = {73--85} } @incollection{bishop_pathos_2011, address = {Dallas}, title = {The {Pathos} of \textit{{The} {Walking} {Dead}}: {Bringing} {Terror} {Back} to {Zombie} {Cinema}}, language = {en}, booktitle = {Triumph of \textit{{The} {Walking} {Dead}}: {Robert} {Kirkman}’s {Zombie} {Epic} on {Page} and {Screen}}, publisher = {Smart Pop}, author = {Bishop, Kyle William}, editor = {Lowder, James}, year = {2011}, keywords = {Post-9/11 Omnicrisis}, pages = {1--14} } @incollection{bishop_assemblage_2010, address = {Teaneck, NJ}, title = {Assemblage {Filmmaking}: {Approaching} the {Multi}-{Source} {Adaptation} and {Reexamining} {George} {Romero}’s {Night} of the {Living} {Dead}.}, language = {en}, booktitle = {Adaptation {Studies}: {New} {Beginnings}}, publisher = {Fairleigh Dickinson UP}, author = {Bishop, Kyle William}, editor = {Albrecht-Crane, Christa and Cutchins, Dennis}, year = {2010}, pages = {263--277} } @incollection{bishop_apocalyptic_2016, address = {Houndmills; New York}, title = {Apocalyptic {Psychotherapy}: {Emotion} and {Identity} in {AMC}’s \textit{{The} {Walking} {Dead}}}, copyright = {©2016 Kyle William Bishop}, isbn = {978-1-349-84936-9 978-1-137-56885-4}, shorttitle = {Apocalyptic {Psychotherapy}}, url = {http://link.springer.com/chapter/10.1007/978-1-137-56885-4_11}, abstract = {In recent years, storytellers have increasingly used the zombie as a platform to explore a variety of cultural anxieties and concerns. Two of the most prolific themes scrutinized by zombie narratives are those of human emotions and personal identity, particularly those that exist within familial relationships. From the beginning of the modern-day zombie tale, George A. Romero has deployed zombies as uncanny Gothic figures to reveal the repressed emotions eating away at the contemporary family and redefining familial roles and individual identity (see Bishop 94–128). Almost 50 years later, zombies once again facilitate stories of love and hate, pride and shame, resentment and guilt in family relationships; this is especially evident in AMC’s adaptation of The Walking Dead (AMC, 2010–).1 The series begins with a family divided both physically and emotionally, and much of the story to date concerns efforts to both preserve and redefine different family units, such as ‘wife’, ‘mother’, and ‘brother’. Yet, rather than depicting a dystopian wasteland, The Walking Dead proposes a surprisingly positive apocalypse (see Boehm 130), one that uses both zombies and human survivors as uncanny figures to explore and challenge a host of emotional relationships that (re)define identity while revealing the need for awareness, action, change, and ultimately, healing.}, language = {en}, urldate = {2016-05-13}, booktitle = {Emotions in {Contemporary} {TV} {Series}}, publisher = {Palgrave Macmillan}, author = {Bishop, Kyle William}, editor = {García, Alberto N.}, year = {2016}, note = {DOI: 10.1007/978-1-137-56885-4\_11}, pages = {172--188} } @incollection{botting_globalzombie:_2013, address = {Manchester}, title = {Globalzombie: {From} \textit{{White} {Zombie}} to \textit{{World} {War} {Z}}}, language = {en}, booktitle = {Globalgothic}, publisher = {Manchester University Press}, author = {Botting, Fred}, editor = {Byron, Glennis}, year = {2013}, pages = {188--201} } @article{skult_role_2015, title = {The {Role} of {Place} in the {Post}-{Apocalypse}: {Contrasting} \textit{{The} {Road}} and \textit{{World} {War} {Z}}}, volume = {87}, issn = {0039-3274}, shorttitle = {The {Role} of {Place} in the {Post}-{Apocalypse}}, url = {http://dx.doi.org/10.1080/00393274.2014.981963}, doi = {10.1080/00393274.2014.981963}, number = {Supplement 1}, urldate = {2016-05-13}, journal = {Studia Neophilologica}, author = {Skult, Petter}, month = apr, year = {2015}, pages = {104--115} } @article{botting_undead-ends:_2013, title = {Undead-{Ends}: {Zombie} {Debt}/{Zombie} {Theory}}, volume = {23}, issn = {1053-1920}, shorttitle = {Undead-{Ends}}, url = {https://muse.jhu.edu/article/554618}, doi = {10.1353/pmc.2013.0043}, number = {3}, urldate = {2016-05-13}, journal = {Postmodern Culture}, author = {Botting, Fred}, year = {2013} } @article{cohen_undead_2012, title = {Undead ({A} {Zombie} {Oriented} {Ontology})}, volume = {23}, number = {3}, journal = {Journal of the Fantastic in the Arts}, author = {Cohen, Jeffrey Jerome}, year = {2012}, pages = {397--412} } @incollection{lauro_playing_2011, address = {New York}, title = {Playing {Dead}: {Zombies} {Invade} {Performance} {Art} ... and {Your} {Neighborhood}}, language = {en}, booktitle = {Better {Off} {Dead}: {The} {Evolution} of the {Zombie} as {Post}-{Human}}, publisher = {Fordham University Press}, author = {Lauro, Sarah J.}, editor = {Christie, Deborah and Lauro, Sarah J.}, year = {2011}, pages = {205--230} } @incollection{collins_off_2011, address = {New York}, title = {“{Off} the {Page} and into {Your} {Brains}!”: {New} {Millennium} {Zombies} and the {Scourge} of {Hopeful} {Apocalypses}}, language = {en}, booktitle = {Better {Off} {Dead}: {The} {Evolution} of the {Zombie} as {Post}-{Human}}, publisher = {Fordham University Press}, author = {Collins, Margo and Bond, Elson}, editor = {Christie, Deborah and Lauro, Sarah J.}, year = {2011}, pages = {187--204} } @incollection{dendle_zombie_2011-1, address = {New York}, title = {Zombie {Movies} and the ‘{Millennial} {Generation}’}, language = {en}, booktitle = {Better {Off} {Dead}: {The} {Evolution} of the {Zombie} as {Post}-{Human}}, publisher = {Fordham University Press}, author = {Dendle, Peter}, editor = {Christie, Deborah and Lauro, Sarah J.}, year = {2011}, pages = {175--186} } @incollection{pifer_slacker_2011, address = {New York}, title = {Slacker {Bites} {Back}: \textit{{Shaun} of the {Dead}} {Finds} {New} {Life} for {Deadbeats}}, language = {en}, booktitle = {Better {Off} {Dead}: {The} {Evolution} of the {Zombie} as {Post}-{Human}}, publisher = {Fordham University Press}, author = {Pifer, Lynn}, editor = {Christie, Deborah and Lauro, Sarah J.}, year = {2011}, pages = {163--174} } @incollection{ni_fhlainn_all_2011, address = {New York}, title = {All {Dark} {Inside}: {Dehumanization} and {Zombification} in {Postmodern} {Cinema}}, language = {en}, booktitle = {Better {Off} {Dead}: {The} {Evolution} of the {Zombie} as {Post}-{Human}}, publisher = {Fordham University Press}, author = {Ní Fhlainn, Sorcha}, editor = {Christie, Deborah and Lauro, Sarah J.}, year = {2011}, pages = {139--158} } @incollection{murphy_imitations_2011, address = {New York}, title = {Imitations of {Life}: {Zombies} and the {Suburban} {Gothic}}, language = {en}, booktitle = {Better {Off} {Dead}: {The} {Evolution} of the {Zombie} as {Post}-{Human}}, publisher = {Fordham University Press}, author = {Murphy, Bernice}, editor = {Christie, Deborah and Lauro, Sarah J.}, year = {2011}, pages = {116--138} } @incollection{zani_lucio_2011, address = {New York}, title = {Lucio {Fulci} and the {Decaying} {Definition} of {Zombie} {Narratives}}, language = {en}, booktitle = {Better {Off} {Dead}: {The} {Evolution} of the {Zombie} as {Post}-{Human}}, publisher = {Fordham University Press}, author = {Zani, Steven and Meaux, Kevin}, editor = {Christie, Deborah and Lauro, Sarah J.}, year = {2011}, pages = {98--115} } @incollection{christie_dead_2011, address = {New York}, title = {A {Dead} {New} {World}: {Richard} {Matheson} and the {Modern} {Zombie}}, language = {en}, booktitle = {Better {Off} {Dead}: {The} {Evolution} of the {Zombie} as {Post}-{Human}}, publisher = {Fordham University Press}, author = {Christie, Deborah}, editor = {Christie, Deborah and Lauro, Sarah J.}, year = {2011}, pages = {61--66} } @incollection{boon_zombie_2011, address = {New York}, title = {The {Zombie} as {Other}: {Mortality} and the {Monstrous} in the {Post}-{Nuclear} {Age}}, language = {en}, booktitle = {Better {Off} {Dead}: {The} {Evolution} of the {Zombie} as {Post}-{Human}}, publisher = {Fordham University Press}, author = {Boon, Kevin}, editor = {Christie, Deborah and Lauro, Sarah J.}, year = {2011}, pages = {50--60} } @incollection{hand_undead_2011, address = {New York}, title = {Undead {Radio}: {Zombies} and the {Living} {Dead} on 1930s and 1940s {Radio} {Drama}}, language = {en}, booktitle = {Better {Off} {Dead}: {The} {Evolution} of the {Zombie} as {Post}-{Human}}, publisher = {Fordham University Press}, author = {Hand, Richard}, editor = {Christie, Deborah and Lauro, Sarah J.}, year = {2011}, pages = {39--49} } @incollection{degoul_we_2011, address = {New York}, title = {“{We} {Are} the {Mirror} of {Your} {Fears}”: {Haitian} {Identity} and {Zombification}}, language = {en}, booktitle = {Better {Off} {Dead}: {The} {Evolution} of the {Zombie} as {Post}-{Human}}, publisher = {Fordham University Press}, author = {Degoul, Franck}, editor = {Christie, Deborah and Lauro, Sarah J.}, translator = {Lore, Elisabeth M.}, year = {2011}, pages = {24--38} } @incollection{christie_they_2011, address = {New York}, title = {“{They} {Are} {Not} {Men} ... {They} {Are} {Dead} {Bodies}”: {From} {Cannibal} to {Zombie} and {Back} {Again}}, isbn = {978-0-8232-3446-2 978-0-8232-3447-9 978-0-8232-3448-6}, booktitle = {Better {Off} {Dead}: {The} {Evolution} of the {Zombie} as {Post}-{Human}}, publisher = {Fordham University Press}, author = {Kee, Chera}, editor = {Christie, Deborah and Lauro, Sarah J.}, year = {2011}, pages = {9--23} } @article{bogard_empire_2008, title = {Empire of the {Living} {Dead}}, volume = {13}, issn = {1357-6275}, url = {http://dx.doi.org/10.1080/13576270801954377}, doi = {10.1080/13576270801954377}, abstract = {The corpse is no longer a dominant organizing figure of power and knowledge in postmodern network society. Limited by its own corporeality and tied to modern notions of the individual, its utility in controlling life has been superseded by technologies that control birth. This essay draws a line from Foucault's analysis of the dead body as an object of biopower to Baudrillard's and Deleuze's vision of control societies, in which the body disappears and biopower becomes a function of information and genetic modification. It uses the popular film image of the “living dead” to trace this evolution of biopower from the dissection of bodies at the end of life to the pre-programming and simulation of life at its inception: an evolution from the corpse to the clone, from the individuated dead body to the hybrid, dividualized body.}, number = {2}, urldate = {2016-05-13}, journal = {Mortality}, author = {Bogard, William}, month = may, year = {2008}, pages = {187--200} } @article{fay_dead_2008, title = {Dead {Subjectivity}: {White} {Zombie}, {Black} {Baghdad}}, volume = {8}, issn = {1539-6630}, shorttitle = {Dead {Subjectivity}}, url = {https://muse.jhu.edu/article/246540}, doi = {10.1353/ncr.0.0018}, number = {1}, urldate = {2016-05-13}, journal = {CR: The New Centennial Review}, author = {Fay, Jennifer}, year = {2008}, pages = {81--101} } @incollection{hand_proliferating_2004, address = {Jackson}, title = {Proliferating {Horrors}: {Survival} {Horror} and the \textit{{Resident} {Evil}} {Franchise}}, language = {en}, booktitle = {Horror {Film}: {Creating} and {Marketing} {Fear}}, publisher = {University Press of Mississippi}, author = {Hand, Richard}, editor = {Hantke, Steffen}, year = {2004}, pages = {117--134} } @incollection{higashi_night_1990, address = {New Brunswick; London}, title = {\textit{{Night} of the {Living} {Dead}}: {A} {Horror} {Film} {About} the {Horrors} of the {Vietnam} {Era}}, language = {en}, booktitle = {From {Hanoi} to {Hollywood}: {The} {Vietnam} {War} in {American} {Film}}, publisher = {Rutgers University Press}, author = {Higashi, Sumiko}, editor = {Dittmar, Linda and Michaud, Gene}, year = {1990}, pages = {175--188} } @book{mcnally_monsters_2011, address = {Leiden}, title = {Monsters of the {Market}: {Zombies}, {Vampires} and {Global} {Capitalism}}, isbn = {978-90-04-20157-6}, shorttitle = {Monsters of the {Market}}, abstract = {Monsters of the Market investigates the rise of capitalism through the prism of the body-panics it arouses. Drawing on folklore, literature and popular culture, the book links tales of monstrosity from early-modern England, including Mary Shelley’s Frankenstein, to a spate of recent vampire- and zombie-fables from sub-Saharan Africa, and it connects these to Marx’s persistent use of monster-metaphors in his descriptions of capitalism. Reading across these tales of the grotesque, Monsters of the Market offers a novel account of the cultural and corporeal economy of a global market-system. The book thus makes original contributions to political economy, cultural theory, commodification-studies and ‘body-theory’.}, language = {en}, publisher = {BRILL}, author = {McNally, David}, month = jul, year = {2011} } @incollection{paffenroth_negotiating_2012, address = {Eugene, OR}, title = {Negotiating ({Non}){Existence}: {Justifications} of {Violence} in {Robert} {Kirkman}’s \textit{{The} {Walking} {Dead}}}, isbn = {978-1-61097-875-0}, abstract = {The academy and pop culture alike recognize the great symbolic and teaching value of the undead, whether vampires, zombies, or other undead or living-dead creatures. This has been explored variously from critiques of consumerism and racism, through explorations of gender and sexuality, to consideration of the breakdown of the nuclear family. Most academic examinations of the undead have been undertaken from the perspectives of philosophy and political theory, but another important avenue of exploration comes through theology. Through the vampire, the zombie, the Golem, and Cenobites, contributors address a variety of theological issues by way of critical reflection on the divine and the sacred in popular culture through film, television, graphic novels, and literature.}, language = {en}, booktitle = {The {Undead} and {Theology}}, publisher = {Pickwick}, author = {Parker, J. Ryan}, editor = {Paffenroth, Kim and Morehead, John W.}, month = sep, year = {2012}, pages = {165--194} } @incollection{paffenroth_apocalyptic_2012, address = {Eugene, OR}, title = {Apocalyptic {Images} and {Prophetic} {Function} in {Zombie} {Films}}, isbn = {978-1-61097-875-0}, abstract = {The academy and pop culture alike recognize the great symbolic and teaching value of the undead, whether vampires, zombies, or other undead or living-dead creatures. This has been explored variously from critiques of consumerism and racism, through explorations of gender and sexuality, to consideration of the breakdown of the nuclear family. Most academic examinations of the undead have been undertaken from the perspectives of philosophy and political theory, but another important avenue of exploration comes through theology. Through the vampire, the zombie, the Golem, and Cenobites, contributors address a variety of theological issues by way of critical reflection on the divine and the sacred in popular culture through film, television, graphic novels, and literature.}, language = {en}, booktitle = {The {Undead} and {Theology}}, publisher = {Pickwick}, author = {Paffenroth, Kim}, editor = {Paffenroth, Kim and Morehead, John W.}, month = sep, year = {2012}, pages = {145--164} } @incollection{paffenroth_zombie_2012, address = {Eugene, OR}, title = {Zombie {Walks}, {Zombie} {Jesus}, and the {Eschatology} of {Postmodern} {Flesh}}, isbn = {978-1-61097-875-0}, abstract = {The academy and pop culture alike recognize the great symbolic and teaching value of the undead, whether vampires, zombies, or other undead or living-dead creatures. This has been explored variously from critiques of consumerism and racism, through explorations of gender and sexuality, to consideration of the breakdown of the nuclear family. Most academic examinations of the undead have been undertaken from the perspectives of philosophy and political theory, but another important avenue of exploration comes through theology. Through the vampire, the zombie, the Golem, and Cenobites, contributors address a variety of theological issues by way of critical reflection on the divine and the sacred in popular culture through film, television, graphic novels, and literature.}, language = {en}, booktitle = {The {Undead} and {Theology}}, publisher = {Pickwick}, author = {Morehead, John W.}, editor = {Paffenroth, Kim and Morehead, John W.}, month = sep, year = {2012}, pages = {101--123} } @incollection{paffenroth_living_2012, address = {Eugene, OR}, title = {The {Living} {Christ} and \textit{{The} {Walking} {Dead}}: {Karl} {Barth} and the {Theological} {Zombie}}, isbn = {978-1-61097-875-0}, abstract = {The academy and pop culture alike recognize the great symbolic and teaching value of the undead, whether vampires, zombies, or other undead or living-dead creatures. This has been explored variously from critiques of consumerism and racism, through explorations of gender and sexuality, to consideration of the breakdown of the nuclear family. Most academic examinations of the undead have been undertaken from the perspectives of philosophy and political theory, but another important avenue of exploration comes through theology. Through the vampire, the zombie, the Golem, and Cenobites, contributors address a variety of theological issues by way of critical reflection on the divine and the sacred in popular culture through film, television, graphic novels, and literature.}, language = {en}, booktitle = {The {Undead} and {Theology}}, publisher = {Pickwick}, author = {DeCou, Jessica}, editor = {Paffenroth, Kim and Morehead, John W.}, month = sep, year = {2012}, pages = {79--100} } @book{paffenroth_undead_2012, address = {Eugene, OR}, title = {The {Undead} and {Theology}}, isbn = {978-1-61097-875-0}, abstract = {The academy and pop culture alike recognize the great symbolic and teaching value of the undead, whether vampires, zombies, or other undead or living-dead creatures. This has been explored variously from critiques of consumerism and racism, through explorations of gender and sexuality, to consideration of the breakdown of the nuclear family. Most academic examinations of the undead have been undertaken from the perspectives of philosophy and political theory, but another important avenue of exploration comes through theology. Through the vampire, the zombie, the Golem, and Cenobites, contributors address a variety of theological issues by way of critical reflection on the divine and the sacred in popular culture through film, television, graphic novels, and literature.}, language = {en}, publisher = {Pickwick}, editor = {Paffenroth, Kim and Morehead, John W.}, month = sep, year = {2012} } @incollection{blake_another_2002, address = {Hereford}, title = {Another {One} {For} the {Fire}: {George} {A}. {Romero}'s {Theology} of the {Flesh}}, booktitle = {Shocking {Cinema} of the {Seventies}}, publisher = {Noir Publishing}, author = {Blake, Linnie}, editor = {Mendik, Xavier}, year = {2002}, pages = {151--65} } @article{larsen_zombies_2010, title = {Zombies of {Immaterial} {Labor}: {The} {Modern} {Monster} and the {Death} of {Death}}, volume = {15}, shorttitle = {Zombies of {Immaterial} {Labor}}, url = {http://www.e-flux.com/journal/zombies-of-immaterial-labor-the-modern-monster-and-the-death-of-death/#_ftn30}, urldate = {2016-05-13}, journal = {e-flux}, author = {Larsen, Lars Bang}, year = {2010} } @book{williams_cinema_2015, address = {New York; Chichester}, edition = {2nd}, title = {The {Cinema} of {George} {A}. {Romero}: {Knight} of the {Living} {Dead}}, isbn = {978-0-231-85075-9}, shorttitle = {The {Cinema} of {George} {A}. {Romero}}, abstract = {In placing Romero\&\#39;s oeuvre in the context of literary naturalism, the book explores the relevance of the director\&\#39;s films within American cultural traditions and thus explains the potency of such work beyond \&\#39;splatter movie\&\#39; models. The author explores the roots of naturalism in the work of Emile Zola and traces this through to the EC Comics of the 1950s and on to the work of Stephen King. In so doing, the book illuminates the importance of seminal Romero texts such as Night of the Living Dead (1968), Creepshow (1982), Monkey Shines (1988), The Dark Half (1992). This study also includes full coverage of Romero\&\#39;s latest feature, Bruiser (2000), as well as his screenplays and teleplays.}, language = {en}, publisher = {Columbia University Press}, author = {Williams, Tony}, year = {2015} } @incollection{sutler-cohen_plans_2011, address = {Jefferson, NC; London}, title = {Plans {Are} {Pointless}; {Staying} {Alive} {Is} as {Good} as {It} {Gets}: {Zombie} {Sociology} and the {Politics} of {Survival}}, booktitle = {Zombies {Are} {Us}: {Essays} on the {Humanity} of the {Walking} {Dead}}, publisher = {McFarland}, author = {Sutler-Cohen, Sara}, editor = {Moreman, Christopher M. and Rushton, Cory James}, year = {2011}, pages = {183--194} } @incollection{schott_digital_2011, address = {Jefferson, NC; London}, title = {Digital {Dead}: {Translating} the {Visceral} and {Satirical} {Elements} of {George} {A}. {Romero}’s \textit{{Dawn} of the {Dead}} to {Videogames}}, booktitle = {Zombies {Are} {Us}: {Essays} on the {Humanity} of the {Walking} {Dead}}, publisher = {McFarland}, author = {Schott, Gareth}, editor = {Moreman, Christopher M. and Rushton, Cory James}, year = {2011}, pages = {141--150} } @incollection{mckenzie_mutated_2011, address = {Jefferson, NC; London}, title = {The {Mutated} {Spirit}: {The} {Hollywood} {Zombie} as {Psychopomp}}, booktitle = {Zombies {Are} {Us}: {Essays} on the {Humanity} of the {Walking} {Dead}}, publisher = {McFarland}, author = {McKenzie, Keira}, editor = {Moreman, Christopher M. and Rushton, Cory James}, year = {2011}, pages = {112--122} } @incollection{reitter_religion_2011, address = {Jefferson, NC; London}, title = {Religion, {Blasphemy}, and {Tradition} in the {Films} of {Lucio} {Fulci}}, booktitle = {Zombies {Are} {Us}: {Essays} on the {Humanity} of the {Walking} {Dead}}, publisher = {McFarland}, author = {Reitter, James}, editor = {Moreman, Christopher M. and Rushton, Cory James}, year = {2011}, pages = {100--111} } @incollection{sutherland_corporate_2011, address = {Jefferson, NC; London}, title = {“{Corporate} {Zombies}” and the {Perils} of “{Zombie} {Litigation}”: {The} {Walking} {Dead} in {American} {Judicial} {Writing}}, booktitle = {Zombies {Are} {Us}: {Essays} on the {Humanity} of the {Walking} {Dead}}, publisher = {McFarland}, author = {Sutherland, Sharon and Swan, Sarah}, editor = {Moreman, Christopher M. and Rushton, Cory James}, year = {2011}, pages = {76--86} } @incollection{goodney_lea_modern_2011, address = {Jefferson, NC; London}, title = {Modern {Zombie} {Makers}: {Enacting} the {Ancient} {Impulse} to {Control} and {Possess} {Another}}, booktitle = {Zombies {Are} {Us}: {Essays} on the {Humanity} of the {Walking} {Dead}}, publisher = {McFarland}, author = {Goodney Lea, Suzanne}, editor = {Moreman, Christopher M. and Rushton, Cory James}, year = {2011}, pages = {62--75} } @incollection{st_john_rave_2011, address = {Jefferson, NC; London}, title = {Rave from the {Grave}: {Dark} {Trance} and the {Return} of the {Dead}}, booktitle = {Zombies {Are} {Us}: {Essays} on the {Humanity} of the {Walking} {Dead}}, publisher = {McFarland}, author = {St John, Graham}, editor = {Moreman, Christopher M. and Rushton, Cory James}, year = {2011}, pages = {24--39} } @incollection{derksen_your_2011, address = {Jefferson, NC; London}, title = {Your {Zombie} and {You}: {Identity}, {Emotion}, and the {Undead}}, booktitle = {Zombies {Are} {Us}: {Essays} on the {Humanity} of the {Walking} {Dead}}, publisher = {McFarland}, author = {Derksen, Craig and Hick, Darren Hudson}, editor = {Moreman, Christopher M. and Rushton, Cory James}, year = {2011}, pages = {11--23} } @incollection{dellwing_between_2015, address = {Wiesbaden}, title = {Between {Shell} and {Ghost}: {A} {Hauntology} of {Zombies} in the {Social} {Imaginary}}, isbn = {978-3-658-01721-7 978-3-658-01722-4}, language = {de}, urldate = {2015-11-23}, booktitle = {Vergemeinschaftung in {Zeiten} der {Zombie}-{Apokalypse}}, publisher = {Springer}, author = {Stingl, Alexander I. and Weiss, Sabrina M.}, editor = {Dellwing, Michael and Harbusch, Martin}, year = {2015}, pages = {69--122} } @incollection{fischer-hornung_hybridity_2016, address = {Jackson}, title = {Hybridity {Sucks}: {European} {Vampirism} {Encounters} {Haitian} {Voodoo} in \textit{{The} {White} {Witch} of {Rosehall}}}, isbn = {978-1-4968-0477-8}, abstract = {The undead are very much alive in contemporary entertainment and lore. Indeed, vampires and zombies have garnered attention in print media, cinema, and on television. The vampire, with roots in medieval European folklore, and the zombie, with origins in Afro-Caribbean mythology, have both undergone significant transformations in global culture, proliferating as deviant representatives of the zeitgeist.As this volume demonstrates, distribution of vampires and zombies across time and space has revealed these undead figures to carry multiple meanings. Of all monsters, vampires and zombies seem to be the trendiest—the most regularly incarnate of the undead and the monsters most frequently represented in the media and pop culture. Moreover, both figures have experienced radical reinterpretations. If in the past vampires were evil, blood-sucking exploiters and zombies were brainless victims, they now have metamorphosed into kinder and gentler blood-sucking vampires and crueler, more relentless, flesh-eating zombies.Although the portrayals of both vampires and zombies can be traced back to specific regions and predate mass media, the introduction of mass distribution through film and game technologies has significantly modified their depiction over time and in new environments. Among other topics, contributors discuss zombies in Thai films, vampire novels of Mexico, and undead avatars in horror videogames. This volume—with scholars from different national and cultural backgrounds—explores the transformations that the vampire and zombie figures undergo when they travel globally and through various media and cultures.}, language = {en}, booktitle = {Vampires and {Zombies}: {Transcultural} {Migrations} and {Transnational} {Interpretations}}, publisher = {University Press of Mississippi}, author = {Mueller, Monika}, editor = {Fischer-Hornung, Dorothea and Mueller, Monika}, month = feb, year = {2016}, pages = {130--148} } @incollection{fischer-hornung_smiling_2016, address = {Jackson}, title = {The {Smiling} {Dead}; or: {On} the {Empirical} {Impossibility} of {Thai} {Zombies}}, isbn = {978-1-4968-0477-8}, abstract = {The undead are very much alive in contemporary entertainment and lore. Indeed, vampires and zombies have garnered attention in print media, cinema, and on television. The vampire, with roots in medieval European folklore, and the zombie, with origins in Afro-Caribbean mythology, have both undergone significant transformations in global culture, proliferating as deviant representatives of the zeitgeist.As this volume demonstrates, distribution of vampires and zombies across time and space has revealed these undead figures to carry multiple meanings. Of all monsters, vampires and zombies seem to be the trendiest—the most regularly incarnate of the undead and the monsters most frequently represented in the media and pop culture. Moreover, both figures have experienced radical reinterpretations. If in the past vampires were evil, blood-sucking exploiters and zombies were brainless victims, they now have metamorphosed into kinder and gentler blood-sucking vampires and crueler, more relentless, flesh-eating zombies.Although the portrayals of both vampires and zombies can be traced back to specific regions and predate mass media, the introduction of mass distribution through film and game technologies has significantly modified their depiction over time and in new environments. Among other topics, contributors discuss zombies in Thai films, vampire novels of Mexico, and undead avatars in horror videogames. This volume—with scholars from different national and cultural backgrounds—explores the transformations that the vampire and zombie figures undergo when they travel globally and through various media and cultures.}, language = {en}, booktitle = {Vampires and {Zombies}: {Transcultural} {Migrations} and {Transnational} {Interpretations}}, publisher = {University Press of Mississippi}, author = {Ancuta, Katarzyna}, editor = {Fischer-Hornung, Dorothea and Mueller, Monika}, month = feb, year = {2016}, pages = {21--42} } @incollection{fischer-hornung_reanimation_2016, address = {Jackson}, title = {The {Reanimation} of {Yellow}-{Peril} {Anxieties} in {Max} {Brooks}’s \textit{{World} {War} {Z}}}, isbn = {978-1-4968-0477-8}, abstract = {The undead are very much alive in contemporary entertainment and lore. Indeed, vampires and zombies have garnered attention in print media, cinema, and on television. The vampire, with roots in medieval European folklore, and the zombie, with origins in Afro-Caribbean mythology, have both undergone significant transformations in global culture, proliferating as deviant representatives of the zeitgeist.As this volume demonstrates, distribution of vampires and zombies across time and space has revealed these undead figures to carry multiple meanings. Of all monsters, vampires and zombies seem to be the trendiest—the most regularly incarnate of the undead and the monsters most frequently represented in the media and pop culture. Moreover, both figures have experienced radical reinterpretations. If in the past vampires were evil, blood-sucking exploiters and zombies were brainless victims, they now have metamorphosed into kinder and gentler blood-sucking vampires and crueler, more relentless, flesh-eating zombies.Although the portrayals of both vampires and zombies can be traced back to specific regions and predate mass media, the introduction of mass distribution through film and game technologies has significantly modified their depiction over time and in new environments. Among other topics, contributors discuss zombies in Thai films, vampire novels of Mexico, and undead avatars in horror videogames. This volume—with scholars from different national and cultural backgrounds—explores the transformations that the vampire and zombie figures undergo when they travel globally and through various media and cultures.}, language = {en}, booktitle = {Vampires and {Zombies}: {Transcultural} {Migrations} and {Transnational} {Interpretations}}, publisher = {University Press of Mississippi}, author = {Fox, Timothy R.}, editor = {Fischer-Hornung, Dorothea and Mueller, Monika}, month = feb, year = {2016}, pages = {168--190} } @incollection{keetley_afterword:_2014, address = {Jefferson, NC}, title = {Afterword: {Bye}-{Gone} {Days}: {Reflections} on {Romero}, {Kirkman} and {What} {We} {Become}}, isbn = {978-0-7864-7628-2}, abstract = {"This edited collection brings together an introduction and 13 original scholarly essays on AMC's The Walking Dead. The first group of essays addresses the pervasive bloodletting of the series: What are the consequences of the series' unremitting violence? The second half of the collection explores an equally urgent question: What does it mean to be human?"--}, booktitle = {"{We}'re {All} {Infected}": {Essays} on {AMC}'s \textit{{The} {Walking} {Dead}} and the {Fate} of the {Human}}, publisher = {McFarland}, author = {Beisecker, Dave}, editor = {Keetley, Dawn}, year = {2014}, pages = {201--214} } @incollection{keetley_zombie_2014, address = {Jefferson, NC}, title = {Zombie {Time}: {Temporality} and {Living} {Death}}, isbn = {978-0-7864-7628-2}, abstract = {"This edited collection brings together an introduction and 13 original scholarly essays on AMC's The Walking Dead. The first group of essays addresses the pervasive bloodletting of the series: What are the consequences of the series' unremitting violence? The second half of the collection explores an equally urgent question: What does it mean to be human?"--}, booktitle = {"{We}'re {All} {Infected}": {Essays} on {AMC}'s \textit{{The} {Walking} {Dead}} and the {Fate} of the {Human}}, publisher = {McFarland}, author = {Peaty, Gwyneth}, editor = {Keetley, Dawn}, year = {2014}, pages = {186--200} } @incollection{keetley_human_2014, address = {Jefferson, NC}, title = {Human {Choice} and {Zombie} {Consciousness}}, isbn = {978-0-7864-7628-2}, abstract = {"This edited collection brings together an introduction and 13 original scholarly essays on AMC's The Walking Dead. The first group of essays addresses the pervasive bloodletting of the series: What are the consequences of the series' unremitting violence? The second half of the collection explores an equally urgent question: What does it mean to be human?"--}, booktitle = {"{We}'re {All} {Infected}": {Essays} on {AMC}'s \textit{{The} {Walking} {Dead}} and the {Fate} of the {Human}}, publisher = {McFarland}, author = {Keetley, Dawn}, editor = {Keetley, Dawn}, year = {2014}, pages = {156--172} } @incollection{keetley_nothing_2014, address = {Jefferson, NC}, title = {Nothing {But} the {Meat}: {Posthuman} {Bodies} and the {Dying} {Undead}}, isbn = {978-0-7864-7628-2}, abstract = {"This edited collection brings together an introduction and 13 original scholarly essays on AMC's The Walking Dead. The first group of essays addresses the pervasive bloodletting of the series: What are the consequences of the series' unremitting violence? The second half of the collection explores an equally urgent question: What does it mean to be human?"--}, booktitle = {"{We}'re {All} {Infected}": {Essays} on {AMC}'s \textit{{The} {Walking} {Dead}} and the {Fate} of the {Human}}, publisher = {McFarland}, author = {Aldana Reyes, Xavier}, editor = {Keetley, Dawn}, year = {2014}, keywords = {Bodies}, pages = {142--155} } @incollection{keetley_apocalyptic_2014, address = {Jefferson, NC}, title = {Apocalyptic {Utopia}: {The} {Zombie} and the (r){Evolution} of {Subjectivity}}, isbn = {978-0-7864-7628-2}, abstract = {"This edited collection brings together an introduction and 13 original scholarly essays on AMC's The Walking Dead. The first group of essays addresses the pervasive bloodletting of the series: What are the consequences of the series' unremitting violence? The second half of the collection explores an equally urgent question: What does it mean to be human?"--}, booktitle = {"{We}'re {All} {Infected}": {Essays} on {AMC}'s \textit{{The} {Walking} {Dead}} and the {Fate} of the {Human}}, publisher = {McFarland}, author = {Boehm, Chris}, editor = {Keetley, Dawn}, year = {2014}, pages = {126--141} } @incollection{keetley_mass_2014, address = {Jefferson, NC}, title = {Mass {Shock} {Therapy} for {Atlanta}’s {Psych}(ot)ic {Suburban} {Legacy}}, isbn = {978-0-7864-7628-2}, abstract = {"This edited collection brings together an introduction and 13 original scholarly essays on AMC's The Walking Dead. The first group of essays addresses the pervasive bloodletting of the series: What are the consequences of the series' unremitting violence? The second half of the collection explores an equally urgent question: What does it mean to be human?"--}, booktitle = {"{We}'re {All} {Infected}": {Essays} on {AMC}'s \textit{{The} {Walking} {Dead}} and the {Fate} of the {Human}}, publisher = {McFarland}, author = {Boshears, Paul}, editor = {Keetley, Dawn}, year = {2014}, pages = {110--125} } @incollection{keetley_roadside_2014, address = {Jefferson, NC}, title = {Roadside “{Vigil}” for the {Dead}: {Cannibalism}, {Fossil} {Fuels} and the {American} {Dream}}, isbn = {978-0-7864-7628-2}, abstract = {"This edited collection brings together an introduction and 13 original scholarly essays on AMC's The Walking Dead. The first group of essays addresses the pervasive bloodletting of the series: What are the consequences of the series' unremitting violence? The second half of the collection explores an equally urgent question: What does it mean to be human?"--}, booktitle = {"{We}'re {All} {Infected}": {Essays} on {AMC}'s \textit{{The} {Walking} {Dead}} and the {Fate} of the {Human}}, publisher = {McFarland}, author = {Heckman, Christine}, editor = {Keetley, Dawn}, year = {2014}, pages = {95--109} } @incollection{keetley_rest_2014, address = {Jefferson, NC}, title = {Rest in {Pieces}: {Violence} in {Mourning} the ({Un}){Dead}}, isbn = {978-0-7864-7628-2}, abstract = {"This edited collection brings together an introduction and 13 original scholarly essays on AMC's The Walking Dead. The first group of essays addresses the pervasive bloodletting of the series: What are the consequences of the series' unremitting violence? The second half of the collection explores an equally urgent question: What does it mean to be human?"--}, booktitle = {"{We}'re {All} {Infected}": {Essays} on {AMC}'s \textit{{The} {Walking} {Dead}} and the {Fate} of the {Human}}, publisher = {McFarland}, author = {Kremmel, Laura}, editor = {Keetley, Dawn}, year = {2014}, pages = {80--94} } @incollection{keetley_asserting_2014, address = {Jefferson, NC}, title = {Asserting {Law} and {Order} {Over} the {Mindless}}, isbn = {978-0-7864-7628-2}, abstract = {"This edited collection brings together an introduction and 13 original scholarly essays on AMC's The Walking Dead. The first group of essays addresses the pervasive bloodletting of the series: What are the consequences of the series' unremitting violence? The second half of the collection explores an equally urgent question: What does it mean to be human?"--}, booktitle = {"{We}'re {All} {Infected}": {Essays} on {AMC}'s \textit{{The} {Walking} {Dead}} and the {Fate} of the {Human}}, publisher = {McFarland}, author = {Nurse, Angus}, editor = {Keetley, Dawn}, year = {2014}, pages = {68--79} } @incollection{keetley_walking_2014, address = {Jefferson, NC}, title = {Walking {Tall} or {Walking} {Dead}?: {The} {American} {Cowboy} in the {Zombie} {Apocalypse}}, isbn = {978-0-7864-7628-2}, abstract = {"This edited collection brings together an introduction and 13 original scholarly essays on AMC's The Walking Dead. The first group of essays addresses the pervasive bloodletting of the series: What are the consequences of the series' unremitting violence? The second half of the collection explores an equally urgent question: What does it mean to be human?"--}, booktitle = {"{We}'re {All} {Infected}": {Essays} on {AMC}'s \textit{{The} {Walking} {Dead}} and the {Fate} of the {Human}}, publisher = {McFarland}, author = {Young, P. Ivan}, editor = {Keetley, Dawn}, year = {2014}, pages = {56--67} } @incollection{keetley_burying_2014, address = {Jefferson, NC}, title = {Burying the {Living} with the {Dead}: {Security}, {Survival} and the {Sanction} of {Violence}}, isbn = {978-0-7864-7628-2}, abstract = {"This edited collection brings together an introduction and 13 original scholarly essays on AMC's The Walking Dead. The first group of essays addresses the pervasive bloodletting of the series: What are the consequences of the series' unremitting violence? The second half of the collection explores an equally urgent question: What does it mean to be human?"--}, booktitle = {"{We}'re {All} {Infected}": {Essays} on {AMC}'s \textit{{The} {Walking} {Dead}} and the {Fate} of the {Human}}, publisher = {McFarland}, author = {Pokornowski, Steven}, editor = {Keetley, Dawn}, year = {2014}, pages = {41--55} } @incollection{keetley_zombie_2014-1, address = {Jefferson, NC}, title = {The {Zombie} {Apocalypse} {Is} {Upon} {Us}!: {Homeland} {Insecurity}}, isbn = {978-0-7864-7628-2}, abstract = {"This edited collection brings together an introduction and 13 original scholarly essays on AMC's The Walking Dead. The first group of essays addresses the pervasive bloodletting of the series: What are the consequences of the series' unremitting violence? The second half of the collection explores an equally urgent question: What does it mean to be human?"--}, booktitle = {"{We}'re {All} {Infected}": {Essays} on {AMC}'s \textit{{The} {Walking} {Dead}} and the {Fate} of the {Human}}, publisher = {McFarland}, author = {Simpson, Philip L.}, editor = {Keetley, Dawn}, year = {2014}, pages = {28--40} } @incollection{rath_re-editing_2014, address = {Bielefeld}, series = {Zeitschrift für {Kulturwissenschaften}}, title = {Re-editing {Zombies}: {George} {A}. {Romeros} \textit{{Diary} of the {Dead}}}, volume = {2014,1}, isbn = {978-3-8376-2689-6}, language = {ger}, booktitle = {Zombies}, publisher = {Transcript}, author = {Schuck, Peter}, editor = {Rath, Gudrun}, year = {2014}, pages = {73--84} } @incollection{rath_tropen_2014, address = {Bielefeld}, series = {Zeitschrift für {Kulturwissenschaften}}, title = {Tropen des {Terrors}: {Zombies} und die {Haitianische} {Revolution}}, volume = {2014,1}, isbn = {978-3-8376-2689-6}, language = {ger}, booktitle = {Zombies}, publisher = {Transcript}, author = {Hörmann, Raphael}, editor = {Rath, Gudrun}, year = {2014}, pages = {61--72} } @incollection{rath_zombifizierung_2014, address = {Bielefeld}, series = {Zeitschrift für {Kulturwissenschaften}}, title = {Zombifizierung als {Provokation}: {Zum} ersten \textit{zombi}-{Text}}, volume = {2014,1}, isbn = {978-3-8376-2689-6}, language = {ger}, booktitle = {Zombies}, publisher = {Transcript}, author = {Rath, Gudrun}, editor = {Rath, Gudrun}, year = {2014}, pages = {49--60} } @incollection{rath_vergangenheit_2014, address = {Bielefeld}, series = {Zeitschrift für {Kulturwissenschaften}}, title = {Die {Vergangenheit} ist für alle da: {Vom} {Umgang} mit dem \textit{zombi} im haitianischen {Imaginären} und seinen historischen {Ursprüngen}}, volume = {2014,1}, isbn = {978-3-8376-2689-6}, language = {ger}, booktitle = {Zombies}, publisher = {Transcript}, author = {Degoul, Franck}, editor = {Rath, Gudrun}, year = {2014}, pages = {35--48} } @incollection{rath_working_2014, address = {Bielefeld}, series = {Zeitschrift für {Kulturwissenschaften}}, title = {Working {Dead}. {Walking} {Debt}. {Der} {Zombie} als {Metapher} der {Kapitalismuskritik}}, volume = {2014,1}, isbn = {978-3-8376-2689-6}, language = {ger}, booktitle = {Zombies}, publisher = {Transcript}, author = {Ehrmann, Jeanette}, editor = {Rath, Gudrun}, year = {2014}, pages = {21--34} } @incollection{wetmore_they_2012, address = {London [et al.]}, title = {They {Won}’t {Stay} {Dead}: {The} {Ghosts}, {Zombies} and {Vampires} of 9/11}, isbn = {978-1-4411-0396-3}, abstract = {The horror film is meant to end in hope: Regan McNeil can be exorcized. A hydrophobic Roy Scheider can blow up a shark. Buffy can and will slay vampires. Heroic human qualities like love, bravery, resourcefulness, and intelligence will eventually defeat the monster. But, after the 9/11, American horror became much more bleak, with many films ending with the deaths of the entire main cast. Post-9/11 Horror in American Cinema illustrates how contemporary horror films explore visceral and emotional reactions to the attacks and how they underpin audiences' ongoing fears about their safety. It examines how scary movies have changed as a result of 9/11 and, conversely, how horror films construct and give meaning to the event in a way that other genres do not. Considering films such as Quarantine, Cloverfield, Hostel and the Saw series, Wetmore examines the transformations in horror cinema since 9/11 and considers not merely how the tropes have changed, but how our understanding of horror itself has changed.}, language = {en}, booktitle = {Post-9/11 {Horror} in {American} {Cinema}}, publisher = {Bloomsbury}, author = {Wetmore, Kevin J.}, month = mar, year = {2012}, pages = {153--167} } @incollection{boluk_brain_2011, address = {Jefferson, NC}, title = {A {Brain} {Is} a {Terrible} {Thing} to {Waste}: \textit{{Isolation} {U}}, and the {Campus} {Zombie}}, language = {Englisch}, booktitle = {Generation {Zombie}: {Essays} on the {Living} {Dead} in {Modern} {Culture}}, publisher = {McFarland}, author = {Greenspan, Brian}, editor = {Boluk, Stephanie and Lenz, Wylie}, month = jun, year = {2011}, pages = {206--218} } @incollection{boluk_rhetoric_2011, address = {Jefferson, NC}, title = {Rhetoric {Goes} {Boom}(er): {Agency}, {Networks}, and {Zombies} at {Play}}, language = {Englisch}, booktitle = {Generation {Zombie}: {Essays} on the {Living} {Dead} in {Modern} {Culture}}, publisher = {McFarland}, author = {Reed, Scott}, editor = {Boluk, Stephanie and Lenz, Wylie}, month = jun, year = {2011}, pages = {219--230} } @incollection{boluk_e-dead:_2011, address = {Jefferson, NC}, title = {The {E}-{Dead}: {Zombies} in the {Digital} {Age}}, language = {Englisch}, booktitle = {Generation {Zombie}: {Essays} on the {Living} {Dead} in {Modern} {Culture}}, publisher = {McFarland}, author = {Riley, Brendan}, editor = {Boluk, Stephanie and Lenz, Wylie}, month = jun, year = {2011}, pages = {194--205} } @incollection{boluk_dead_2011, address = {Jefferson, NC}, title = {Dead and {Live} {Life}: {Zombies}, {Queers}, and {Online} {Sociality}}, language = {Englisch}, booktitle = {Generation {Zombie}: {Essays} on the {Living} {Dead} in {Modern} {Culture}}, publisher = {McFarland}, author = {McGlotten, Shaka}, editor = {Boluk, Stephanie and Lenz, Wylie}, month = jun, year = {2011}, pages = {182--193} } @incollection{boluk_end_2011, address = {Jefferson, NC}, title = {The {End} {Begins}: {John} {Wyndham}’s {Zombie} {Cozy}}, language = {Englisch}, booktitle = {Generation {Zombie}: {Essays} on the {Living} {Dead} in {Modern} {Culture}}, publisher = {McFarland}, author = {Harpold, Terry}, editor = {Boluk, Stephanie and Lenz, Wylie}, month = jun, year = {2011}, pages = {156--164} } @incollection{boluk_cyberpunk_2011, address = {Jefferson, NC}, title = {Cyberpunk and the {Living} {Dead}}, language = {Englisch}, booktitle = {Generation {Zombie}: {Essays} on the {Living} {Dead} in {Modern} {Culture}}, publisher = {McFarland}, author = {Austin, Andrea}, editor = {Boluk, Stephanie and Lenz, Wylie}, month = jun, year = {2011}, pages = {147--155} } @incollection{boluk_soft_2011, address = {Jefferson, NC}, title = {Soft {Murders}: {Motion} {Pictures} and {Living} {Death} in \textit{{Diary} of the {Dead}}}, language = {Englisch}, booktitle = {Generation {Zombie}: {Essays} on the {Living} {Dead} in {Modern} {Culture}}, publisher = {McFarland}, author = {Laist, Randy}, editor = {Boluk, Stephanie and Lenz, Wylie}, month = jun, year = {2011}, pages = {101--112} } @incollection{boluk_mass_2011, address = {Jefferson, NC}, title = {Mass {Psychology} and the {Analysis} of the {Zombie}: {From} {Suggestion} to {Contagion}}, language = {Englisch}, booktitle = {Generation {Zombie}: {Essays} on the {Living} {Dead} in {Modern} {Culture}}, publisher = {McFarland}, author = {Mahoney, Phillip}, editor = {Boluk, Stephanie and Lenz, Wylie}, month = jun, year = {2011}, pages = {113--129} } @incollection{boluk_ztopia:_2011, address = {Jefferson, NC}, title = {Ztopia: {Lessons} in {Post}-{Vital} {Politics} in {George} {Romero}’s {Zombie} {Films}}, language = {Englisch}, booktitle = {Generation {Zombie}: {Essays} on the {Living} {Dead} in {Modern} {Culture}}, publisher = {McFarland}, author = {Lewis, Tyson E.}, editor = {Boluk, Stephanie and Lenz, Wylie}, month = jun, year = {2011}, pages = {90--100} } @incollection{boluk_shambling_2011, address = {Jefferson, NC}, title = {Shambling {Towards} {Mount} {Improbable} to {Be} {Born}: {American} {Evolutionary} {Anxiety} and the {Hopeful} {Monsters} in {Matheson}’s \textit{{I} {Am} {Legend}} and {Romero}’s \textit{{Dead}} {Films}}, language = {Englisch}, booktitle = {Generation {Zombie}: {Essays} on the {Living} {Dead} in {Modern} {Culture}}, publisher = {McFarland}, author = {Moreland, Sean}, editor = {Boluk, Stephanie and Lenz, Wylie}, month = jun, year = {2011}, pages = {77--89} } @incollection{boluk_lost_2011, address = {Jefferson, NC}, title = {Lost {Bodies}/{Lost} {Souls}: \textit{{Night} of the {Living} {Dead}} and \textit{{Deathdream}} as {Vietnam} {Narrative}}, language = {Englisch}, booktitle = {Generation {Zombie}: {Essays} on the {Living} {Dead} in {Modern} {Culture}}, publisher = {McFarland}, author = {Randell, Karen}, editor = {Boluk, Stephanie and Lenz, Wylie}, month = jun, year = {2011}, pages = {67--76} } @incollection{boluk_eco-zombie:_2011, address = {Jefferson, NC}, title = {The {Eco}-{Zombie}: {Environmental} {Critique} in {Zombie} {Fiction}}, language = {Englisch}, booktitle = {Generation {Zombie}: {Essays} on the {Living} {Dead} in {Modern} {Culture}}, publisher = {McFarland}, author = {Lauro, Sarah J.}, editor = {Boluk, Stephanie and Lenz, Wylie}, month = jun, year = {2011}, pages = {54--66} } @incollection{boluk_origin_2011, address = {Jefferson, NC}, title = {The {Origin} of the {Zombie} in {American} {Radio} and {Film}: {B}-{Horror}, {U}.{S}. {Empire}, and the {Politics} of {Disavowal}}, language = {Englisch}, booktitle = {Generation {Zombie}: {Essays} on the {Living} {Dead} in {Modern} {Culture}}, publisher = {McFarland}, author = {Vials, Chris}, editor = {Boluk, Stephanie and Lenz, Wylie}, month = jun, year = {2011}, pages = {41--53} } @incollection{boluk_white_2011, address = {Jefferson, NC}, title = {\textit{{White} {Zombie}} and the {Creole}: {William} {Seabrook}’s \textit{{The} {Magic} {Island}} and {American} {Imperialism} in {Haiti}}, language = {Englisch}, booktitle = {Generation {Zombie}: {Essays} on the {Living} {Dead} in {Modern} {Culture}}, publisher = {McFarland}, author = {Phillips, Gyllian}, editor = {Boluk, Stephanie and Lenz, Wylie}, month = jun, year = {2011}, pages = {27--40} } @incollection{boluk_generation_2011-1, address = {Jefferson, NC}, title = {Generation {Z}, the {Age} of {Apocalypse}}, language = {Englisch}, booktitle = {Generation {Zombie}: {Essays} on the {Living} {Dead} in {Modern} {Culture}}, publisher = {McFarland}, author = {Boluk, Stephanie and Lenz, Wylie}, editor = {Boluk, Stephanie and Lenz, Wylie}, month = jun, year = {2011}, pages = {1--17} } @incollection{newitz_undead:_2006, address = {Durham}, title = {The {Undead}: {A} {Haunted} {Whiteness}}, isbn = {978-0-8223-3733-1 978-0-8223-3745-4}, booktitle = {Pretend {We}'re {Dead}: {Capitalist} {Monsters} in {American} {Pop} {Culture}}, publisher = {Duke University Press}, author = {Newitz, Annalee}, year = {2006}, pages = {89--122} } @incollection{hurd_killing_2015, address = {Singapore; Heidelberg}, title = {Killing {Me} {Softly}}, isbn = {978-981-287-934-9}, abstract = {This book argues that the mythic figure of the zombie, so prevalent and powerful in contemporary culture, provides the opportunity to explore certain social models – such as ‘childhood’ and ‘school’, ‘class’ and ‘family’ – that so deeply underpin educational policy and practice as to be rendered invisible. It brings together authors from a range of disciplines to use contemporary zombie typologies – slave, undead, contagion – to examine the responsiveness of everyday practices of schooling such as literacy, curriculum and pedagogy to the new contexts in which children and young people develop their identities, attitudes to learning, and engage with the many publics that make up their everyday worlds.}, language = {en}, booktitle = {Generation {Z}: {Zombies}, {Popular} {Culture} and {Educating} {Youth}}, publisher = {Springer}, author = {Hurd, Peter}, editor = {Carrington, Victoria and Rowsell, Jennifer and Priyadharshini, Esther and Westrup, Rebecca}, month = dec, year = {2015}, pages = {173--183} } @incollection{black_zombies_2015, address = {Singapore; Heidelberg}, title = {Zombies, {Monsters} and {Education}: {The} {Creation} of the {Young} {Citizen}}, isbn = {978-981-287-934-9}, abstract = {This book argues that the mythic figure of the zombie, so prevalent and powerful in contemporary culture, provides the opportunity to explore certain social models – such as ‘childhood’ and ‘school’, ‘class’ and ‘family’ – that so deeply underpin educational policy and practice as to be rendered invisible. It brings together authors from a range of disciplines to use contemporary zombie typologies – slave, undead, contagion – to examine the responsiveness of everyday practices of schooling such as literacy, curriculum and pedagogy to the new contexts in which children and young people develop their identities, attitudes to learning, and engage with the many publics that make up their everyday worlds.}, language = {en}, booktitle = {Generation {Z}: {Zombies}, {Popular} {Culture} and {Educating} {Youth}}, publisher = {Springer}, author = {Black, Rosalyn and Gray, Emily M. and Leahy, Deana}, editor = {Carrington, Victoria and Rowsell, Jennifer and Priyadharshini, Esther and Westrup, Rebecca}, month = dec, year = {2015}, pages = {159--172} } @incollection{westrup_students_2015, address = {Singapore; Heidelberg}, title = {Students as {Zombies}: {How} {Can} {We} {Awaken} the {Undead}?}, isbn = {978-981-287-934-9}, abstract = {This book argues that the mythic figure of the zombie, so prevalent and powerful in contemporary culture, provides the opportunity to explore certain social models – such as ‘childhood’ and ‘school’, ‘class’ and ‘family’ – that so deeply underpin educational policy and practice as to be rendered invisible. It brings together authors from a range of disciplines to use contemporary zombie typologies – slave, undead, contagion – to examine the responsiveness of everyday practices of schooling such as literacy, curriculum and pedagogy to the new contexts in which children and young people develop their identities, attitudes to learning, and engage with the many publics that make up their everyday worlds.}, language = {en}, booktitle = {Generation {Z}: {Zombies}, {Popular} {Culture} and {Educating} {Youth}}, publisher = {Springer}, author = {Westrup, Rebecca}, editor = {Carrington, Victoria and Rowsell, Jennifer and Priyadharshini, Esther and Westrup, Rebecca}, month = dec, year = {2015}, pages = {145--157} } @incollection{abrams_zombies_2015, address = {Singapore; Heidelberg}, title = {Zombies, {Boys}, and {Videogames}: {Problems} and {Possibilities} in an {Assessment} {Culture}}, isbn = {978-981-287-934-9}, abstract = {This book argues that the mythic figure of the zombie, so prevalent and powerful in contemporary culture, provides the opportunity to explore certain social models – such as ‘childhood’ and ‘school’, ‘class’ and ‘family’ – that so deeply underpin educational policy and practice as to be rendered invisible. It brings together authors from a range of disciplines to use contemporary zombie typologies – slave, undead, contagion – to examine the responsiveness of everyday practices of schooling such as literacy, curriculum and pedagogy to the new contexts in which children and young people develop their identities, attitudes to learning, and engage with the many publics that make up their everyday worlds.}, language = {en}, booktitle = {Generation {Z}: {Zombies}, {Popular} {Culture} and {Educating} {Youth}}, publisher = {Springer}, author = {Abrams, Sandra Schamroth}, editor = {Carrington, Victoria and Rowsell, Jennifer and Priyadharshini, Esther and Westrup, Rebecca}, month = dec, year = {2015}, keywords = {Gender, Video Games}, pages = {131--142} } @incollection{smith_pedagogy_2015, address = {Singapore; Heidelberg}, title = {Pedagogy and the {Zombie} {Mythos}: {Lessons} from {Apocalyptic} {Enactments}}, isbn = {978-981-287-934-9}, abstract = {This book argues that the mythic figure of the zombie, so prevalent and powerful in contemporary culture, provides the opportunity to explore certain social models – such as ‘childhood’ and ‘school’, ‘class’ and ‘family’ – that so deeply underpin educational policy and practice as to be rendered invisible. It brings together authors from a range of disciplines to use contemporary zombie typologies – slave, undead, contagion – to examine the responsiveness of everyday practices of schooling such as literacy, curriculum and pedagogy to the new contexts in which children and young people develop their identities, attitudes to learning, and engage with the many publics that make up their everyday worlds.}, language = {en}, booktitle = {Generation {Z}: {Zombies}, {Popular} {Culture} and {Educating} {Youth}}, publisher = {Springer}, author = {Smith, Phil}, editor = {Carrington, Victoria and Rowsell, Jennifer and Priyadharshini, Esther and Westrup, Rebecca}, month = dec, year = {2015}, pages = {85--98} } @incollection{rowsell_staying_2015, address = {Singapore; Heidelberg}, title = {Staying {Up} {Late} {Watching} \textit{{The} {Walking} {Dead}}}, isbn = {978-981-287-934-9}, abstract = {This book argues that the mythic figure of the zombie, so prevalent and powerful in contemporary culture, provides the opportunity to explore certain social models – such as ‘childhood’ and ‘school’, ‘class’ and ‘family’ – that so deeply underpin educational policy and practice as to be rendered invisible. It brings together authors from a range of disciplines to use contemporary zombie typologies – slave, undead, contagion – to examine the responsiveness of everyday practices of schooling such as literacy, curriculum and pedagogy to the new contexts in which children and young people develop their identities, attitudes to learning, and engage with the many publics that make up their everyday worlds.}, language = {en}, booktitle = {Generation {Z}: {Zombies}, {Popular} {Culture} and {Educating} {Youth}}, publisher = {Springer}, author = {Rowsell, Jennifer}, editor = {Carrington, Victoria and Rowsell, Jennifer and Priyadharshini, Esther and Westrup, Rebecca}, month = dec, year = {2015}, pages = {101--113} } @incollection{wohlwend_girls_2015, address = {Singapore; Heidelberg}, title = {Girls, {Ghouls} and {Girlhoods}: {Horror} and {Fashion} at {Monster} {High}}, isbn = {978-981-287-934-9}, abstract = {This book argues that the mythic figure of the zombie, so prevalent and powerful in contemporary culture, provides the opportunity to explore certain social models – such as ‘childhood’ and ‘school’, ‘class’ and ‘family’ – that so deeply underpin educational policy and practice as to be rendered invisible. It brings together authors from a range of disciplines to use contemporary zombie typologies – slave, undead, contagion – to examine the responsiveness of everyday practices of schooling such as literacy, curriculum and pedagogy to the new contexts in which children and young people develop their identities, attitudes to learning, and engage with the many publics that make up their everyday worlds.}, language = {en}, booktitle = {Generation {Z}: {Zombies}, {Popular} {Culture} and {Educating} {Youth}}, publisher = {Springer}, author = {Wohlwend, Karen E.}, editor = {Carrington, Victoria and Rowsell, Jennifer and Priyadharshini, Esther and Westrup, Rebecca}, month = dec, year = {2015}, pages = {115--129} } @incollection{priyadharshini_prom_2015, address = {Singapore; Heidelberg}, title = {From {Prom} {Queen} to {Zombie} {Barbie}: {A} {Tutorial} in {Make} {Up}, {Gender} and {Living} {Death}}, isbn = {978-981-287-934-9}, abstract = {This book argues that the mythic figure of the zombie, so prevalent and powerful in contemporary culture, provides the opportunity to explore certain social models – such as ‘childhood’ and ‘school’, ‘class’ and ‘family’ – that so deeply underpin educational policy and practice as to be rendered invisible. It brings together authors from a range of disciplines to use contemporary zombie typologies – slave, undead, contagion – to examine the responsiveness of everyday practices of schooling such as literacy, curriculum and pedagogy to the new contexts in which children and young people develop their identities, attitudes to learning, and engage with the many publics that make up their everyday worlds.}, language = {en}, booktitle = {Generation {Z}: {Zombies}, {Popular} {Culture} and {Educating} {Youth}}, publisher = {Springer}, author = {Priyadharshini, Esther}, editor = {Carrington, Victoria and Rowsell, Jennifer and Priyadharshini, Esther and Westrup, Rebecca}, month = dec, year = {2015}, pages = {71--84} } @incollection{wallin_into_2015, address = {Singapore; Heidelberg}, title = {Into the {Black}: {Zombie} {Pedagogy}, {Education} and {Youth} at the {End} of the {Anthropocene}}, isbn = {978-981-287-934-9}, abstract = {This book argues that the mythic figure of the zombie, so prevalent and powerful in contemporary culture, provides the opportunity to explore certain social models – such as ‘childhood’ and ‘school’, ‘class’ and ‘family’ – that so deeply underpin educational policy and practice as to be rendered invisible. It brings together authors from a range of disciplines to use contemporary zombie typologies – slave, undead, contagion – to examine the responsiveness of everyday practices of schooling such as literacy, curriculum and pedagogy to the new contexts in which children and young people develop their identities, attitudes to learning, and engage with the many publics that make up their everyday worlds.}, language = {en}, booktitle = {Generation {Z}: {Zombies}, {Popular} {Culture} and {Educating} {Youth}}, publisher = {Springer}, author = {Wallin, Jason J.}, editor = {Carrington, Victoria and Rowsell, Jennifer and Priyadharshini, Esther and Westrup, Rebecca}, month = dec, year = {2015}, pages = {55--69} } @incollection{bingham_dead_2015, address = {Singapore; Heidelberg}, title = {The {Dead} {Are} {Rising}: {Gender} and {Technology} in the {Landscape} of {Crisis}}, isbn = {978-981-287-934-9}, abstract = {This book argues that the mythic figure of the zombie, so prevalent and powerful in contemporary culture, provides the opportunity to explore certain social models – such as ‘childhood’ and ‘school’, ‘class’ and ‘family’ – that so deeply underpin educational policy and practice as to be rendered invisible. It brings together authors from a range of disciplines to use contemporary zombie typologies – slave, undead, contagion – to examine the responsiveness of everyday practices of schooling such as literacy, curriculum and pedagogy to the new contexts in which children and young people develop their identities, attitudes to learning, and engage with the many publics that make up their everyday worlds.}, language = {en}, booktitle = {Generation {Z}: {Zombies}, {Popular} {Culture} and {Educating} {Youth}}, publisher = {Springer}, author = {Bingham, William Patrick}, editor = {Carrington, Victoria and Rowsell, Jennifer and Priyadharshini, Esther and Westrup, Rebecca}, month = dec, year = {2015}, keywords = {Gender}, pages = {37--51} } @incollection{lauro_preface_2015, address = {Singapore; Heidelberg}, title = {Preface {Zombies} {Today}}, isbn = {978-981-287-934-9}, abstract = {This book argues that the mythic figure of the zombie, so prevalent and powerful in contemporary culture, provides the opportunity to explore certain social models – such as ‘childhood’ and ‘school’, ‘class’ and ‘family’ – that so deeply underpin educational policy and practice as to be rendered invisible. It brings together authors from a range of disciplines to use contemporary zombie typologies – slave, undead, contagion – to examine the responsiveness of everyday practices of schooling such as literacy, curriculum and pedagogy to the new contexts in which children and young people develop their identities, attitudes to learning, and engage with the many publics that make up their everyday worlds.}, language = {en}, booktitle = {Generation {Z}: {Zombies}, {Popular} {Culture} and {Educating} {Youth}}, publisher = {Springer}, author = {Lauro, Sarah J.}, editor = {Carrington, Victoria and Rowsell, Jennifer and Priyadharshini, Esther and Westrup, Rebecca}, month = dec, year = {2015}, pages = {11--19} } @incollection{stork_undead_2013, address = {Lanham, MD}, title = {Undead and {Online}: {Fan} {Communities} and the {Undead} {Western}}, isbn = {978-0-8108-9265-1}, abstract = {The undead are back! In Undead in the West: Vampires, Zombies, Mummies, and Ghosts on the Cinematic Frontier, Cynthia J. Miller and A. Bowdoin Van Riper assembled a collection of essays that explored the unique intersection of two seemingly distinct genres in cinema: the western and the horror film. In this new volume, Undead in the West II: They Just Keep Coming, Miller and Van Riper expand their examination of undead Westerns to include not only film, but literature, sequential art, gaming, and fan culture (fan fiction, blogging, fan editing, and zombie walks). These essays run the gamut from comics and graphic novels such as American Vampire, Preacher, and Priest, and games like Darkwatch and Red Dead Redemption, to novels and short stories by celebrated writers including Robert E. Howard, Joe R. Lansdale, and Stephen King. Featuring a foreword by renowned science fiction author William F. Nolan (Logan’s Run) and an afterword by acclaimed game designer Paul O’Connor (Darkwatch), this collection will appeal to scholars of literature, gaming, and popular culture, as well as to fans of this unique hybrid.}, language = {en}, booktitle = {Undead in the {West} {II}: {They} {Just} {Keep} {Coming}}, publisher = {Scarecrow Press}, author = {Stork, Matthias and Riper, A. Bowdoin Van}, editor = {Miller, Cynthia J. and Riper, A. Bowdoin Van}, month = oct, year = {2013}, pages = {286--304} } @incollection{king_unsettled:_2013, address = {Lanham, MD}, title = {Unsettled: {Ghosts}, {Zombies}, and {Indians} in the {American} {West}}, isbn = {978-0-8108-9265-1}, abstract = {The undead are back! In Undead in the West: Vampires, Zombies, Mummies, and Ghosts on the Cinematic Frontier, Cynthia J. Miller and A. Bowdoin Van Riper assembled a collection of essays that explored the unique intersection of two seemingly distinct genres in cinema: the western and the horror film. In this new volume, Undead in the West II: They Just Keep Coming, Miller and Van Riper expand their examination of undead Westerns to include not only film, but literature, sequential art, gaming, and fan culture (fan fiction, blogging, fan editing, and zombie walks). These essays run the gamut from comics and graphic novels such as American Vampire, Preacher, and Priest, and games like Darkwatch and Red Dead Redemption, to novels and short stories by celebrated writers including Robert E. Howard, Joe R. Lansdale, and Stephen King. Featuring a foreword by renowned science fiction author William F. Nolan (Logan’s Run) and an afterword by acclaimed game designer Paul O’Connor (Darkwatch), this collection will appeal to scholars of literature, gaming, and popular culture, as well as to fans of this unique hybrid.}, language = {en}, booktitle = {Undead in the {West} {II}: {They} {Just} {Keep} {Coming}}, publisher = {Scarecrow Press}, author = {King, C. Richard}, editor = {Miller, Cynthia J. and Riper, A. Bowdoin Van}, month = oct, year = {2013}, pages = {286--304} } @incollection{saric_finding_2013, address = {Lanham, MD}, title = {Finding a {Noble} {Purpose} in the {Postapocalyptic} {Zombie} {West}: {Identity} {Development} in {Jonathan} {Maberry}’s \textit{{Rot} and {Ruin}}}, isbn = {978-0-8108-9265-1}, abstract = {The undead are back! In Undead in the West: Vampires, Zombies, Mummies, and Ghosts on the Cinematic Frontier, Cynthia J. Miller and A. Bowdoin Van Riper assembled a collection of essays that explored the unique intersection of two seemingly distinct genres in cinema: the western and the horror film. In this new volume, Undead in the West II: They Just Keep Coming, Miller and Van Riper expand their examination of undead Westerns to include not only film, but literature, sequential art, gaming, and fan culture (fan fiction, blogging, fan editing, and zombie walks). These essays run the gamut from comics and graphic novels such as American Vampire, Preacher, and Priest, and games like Darkwatch and Red Dead Redemption, to novels and short stories by celebrated writers including Robert E. Howard, Joe R. Lansdale, and Stephen King. Featuring a foreword by renowned science fiction author William F. Nolan (Logan’s Run) and an afterword by acclaimed game designer Paul O’Connor (Darkwatch), this collection will appeal to scholars of literature, gaming, and popular culture, as well as to fans of this unique hybrid.}, language = {en}, booktitle = {Undead in the {West} {II}: {They} {Just} {Keep} {Coming}}, publisher = {Scarecrow Press}, author = {Saric, Julia}, editor = {Miller, Cynthia J. and Riper, A. Bowdoin Van}, month = oct, year = {2013}, pages = {124--141} } @incollection{sartain_days_2013, address = {Lanham, MD}, title = {Days {Gone} {Bye}: {Robert} {Kirkman}’s {Reenvisioned} {Western} \textit{{The} {Walking} {Dead}}}, isbn = {978-0-8108-9265-1}, abstract = {The undead are back! In Undead in the West: Vampires, Zombies, Mummies, and Ghosts on the Cinematic Frontier, Cynthia J. Miller and A. Bowdoin Van Riper assembled a collection of essays that explored the unique intersection of two seemingly distinct genres in cinema: the western and the horror film. In this new volume, Undead in the West II: They Just Keep Coming, Miller and Van Riper expand their examination of undead Westerns to include not only film, but literature, sequential art, gaming, and fan culture (fan fiction, blogging, fan editing, and zombie walks). These essays run the gamut from comics and graphic novels such as American Vampire, Preacher, and Priest, and games like Darkwatch and Red Dead Redemption, to novels and short stories by celebrated writers including Robert E. Howard, Joe R. Lansdale, and Stephen King. Featuring a foreword by renowned science fiction author William F. Nolan (Logan’s Run) and an afterword by acclaimed game designer Paul O’Connor (Darkwatch), this collection will appeal to scholars of literature, gaming, and popular culture, as well as to fans of this unique hybrid.}, language = {en}, booktitle = {Undead in the {West} {II}: {They} {Just} {Keep} {Coming}}, publisher = {Scarecrow Press}, author = {Sartain, Jeffrey A.}, editor = {Miller, Cynthia J. and Riper, A. Bowdoin Van}, month = oct, year = {2013}, pages = {249--268} } @incollection{hewitson_undead_2012, address = {Lanham, MD}, title = {Undead and {Un}-{American}: {The} {Zombified} {Other} in {Weird} {Western} {Films}}, isbn = {978-0-8108-8544-8}, abstract = {In Undead in the West: Vampires, Zombies, Mummies, and Ghosts on the Cinematic Frontier, Cynthia J. Miller and A. Bowdoin Van Riper have assembled a collection of essays that explore the many tropes and themes through which undead Westerns make the genre s inner plagues and demons visible, and lay siege to a frontier tied to myths of strength, ingenuity, freedom, and independence. The volume is divided into three sections: Reanimating Classic Western Tropes examines traditional Western characters, symbolism, and plot devices and how they are given new life in undead Westerns; The Moral Order Under Siege explores the ways in which the undead confront classic values and morality tales embodied in Western films; and And Hell Followed with Him looks at justice, retribution, and retaliation at the hands of undead angels and avenger. The subjects explored here run the gamut from such B films as Curse of the Undead and Billy the Kid vs. Dracula to A-list features like From Dusk til Dawn and Jonah Hex, as well as animated films (Rango) and television programs (The Walking Dead and Supernatural). Other films discussed include Sam Raimi s Bubba Ho-Tep, John Carpenter s Vampires, George Romero s Land of the Dead, and Sergio Leone s Once Upon a Time in the West. Featuring several illustrations and a filmography, Undead in the West will appeal to film scholars, especially those interested in hybrid genres, as well as fans of the Western and the supernatural in cinema."}, language = {en}, booktitle = {Undead in the {West}: {Vampires}, {Zombies}, {Mummies}, and {Ghosts} on the {Cinematic} {Frontier}}, publisher = {Scarecrow Press}, author = {Hewitson, James}, editor = {Miller, Cynthia J. and Riper, A. Bowdoin Van}, year = {2012}, pages = {166--181} } @incollection{gonzales_zombie_2012, address = {Lanham, MD}, title = {Zombie {Nationalism}: {Robert} {Rodriguez}’s \textit{{Planet} {Terror}} as {Immigration} {Satire}}, isbn = {978-0-8108-8544-8}, abstract = {In Undead in the West: Vampires, Zombies, Mummies, and Ghosts on the Cinematic Frontier, Cynthia J. Miller and A. Bowdoin Van Riper have assembled a collection of essays that explore the many tropes and themes through which undead Westerns make the genre s inner plagues and demons visible, and lay siege to a frontier tied to myths of strength, ingenuity, freedom, and independence. The volume is divided into three sections: Reanimating Classic Western Tropes examines traditional Western characters, symbolism, and plot devices and how they are given new life in undead Westerns; The Moral Order Under Siege explores the ways in which the undead confront classic values and morality tales embodied in Western films; and And Hell Followed with Him looks at justice, retribution, and retaliation at the hands of undead angels and avenger. The subjects explored here run the gamut from such B films as Curse of the Undead and Billy the Kid vs. Dracula to A-list features like From Dusk til Dawn and Jonah Hex, as well as animated films (Rango) and television programs (The Walking Dead and Supernatural). Other films discussed include Sam Raimi s Bubba Ho-Tep, John Carpenter s Vampires, George Romero s Land of the Dead, and Sergio Leone s Once Upon a Time in the West. Featuring several illustrations and a filmography, Undead in the West will appeal to film scholars, especially those interested in hybrid genres, as well as fans of the Western and the supernatural in cinema."}, language = {en}, booktitle = {Undead in the {West}: {Vampires}, {Zombies}, {Mummies}, and {Ghosts} on the {Cinematic} {Frontier}}, publisher = {Scarecrow Press}, author = {Gonzales, Christopher}, editor = {Miller, Cynthia J. and Riper, A. Bowdoin Van}, year = {2012}, pages = {150--165} } @incollection{hakola_colliding_2012, address = {Lanham, MD}, title = {Colliding {Modalities} and {Receding} {Frontier} in {George} {Romero}’s \textit{{Land} of the {Dead}}}, isbn = {978-0-8108-8544-8}, abstract = {In Undead in the West: Vampires, Zombies, Mummies, and Ghosts on the Cinematic Frontier, Cynthia J. Miller and A. Bowdoin Van Riper have assembled a collection of essays that explore the many tropes and themes through which undead Westerns make the genre s inner plagues and demons visible, and lay siege to a frontier tied to myths of strength, ingenuity, freedom, and independence. The volume is divided into three sections: Reanimating Classic Western Tropes examines traditional Western characters, symbolism, and plot devices and how they are given new life in undead Westerns; The Moral Order Under Siege explores the ways in which the undead confront classic values and morality tales embodied in Western films; and And Hell Followed with Him looks at justice, retribution, and retaliation at the hands of undead angels and avenger. The subjects explored here run the gamut from such B films as Curse of the Undead and Billy the Kid vs. Dracula to A-list features like From Dusk til Dawn and Jonah Hex, as well as animated films (Rango) and television programs (The Walking Dead and Supernatural). Other films discussed include Sam Raimi s Bubba Ho-Tep, John Carpenter s Vampires, George Romero s Land of the Dead, and Sergio Leone s Once Upon a Time in the West. Featuring several illustrations and a filmography, Undead in the West will appeal to film scholars, especially those interested in hybrid genres, as well as fans of the Western and the supernatural in cinema."}, language = {en}, booktitle = {Undead in the {West}: {Vampires}, {Zombies}, {Mummies}, and {Ghosts} on the {Cinematic} {Frontier}}, publisher = {Scarecrow Press}, author = {Hakola, Outi J.}, editor = {Miller, Cynthia J. and Riper, A. Bowdoin Van}, year = {2012}, pages = {133--149} } @incollection{rees_frontier_2012, address = {Lanham, MD}, title = {Frontier {Values} {Meet} {Big}-{City} {Zombies}: {The} {Old} {West} in {AMC}’s \textit{{The} {Walking} {Dead}}}, isbn = {978-0-8108-8544-8}, abstract = {In Undead in the West: Vampires, Zombies, Mummies, and Ghosts on the Cinematic Frontier, Cynthia J. Miller and A. Bowdoin Van Riper have assembled a collection of essays that explore the many tropes and themes through which undead Westerns make the genre s inner plagues and demons visible, and lay siege to a frontier tied to myths of strength, ingenuity, freedom, and independence. The volume is divided into three sections: Reanimating Classic Western Tropes examines traditional Western characters, symbolism, and plot devices and how they are given new life in undead Westerns; The Moral Order Under Siege explores the ways in which the undead confront classic values and morality tales embodied in Western films; and And Hell Followed with Him looks at justice, retribution, and retaliation at the hands of undead angels and avenger. The subjects explored here run the gamut from such B films as Curse of the Undead and Billy the Kid vs. Dracula to A-list features like From Dusk til Dawn and Jonah Hex, as well as animated films (Rango) and television programs (The Walking Dead and Supernatural). Other films discussed include Sam Raimi s Bubba Ho-Tep, John Carpenter s Vampires, George Romero s Land of the Dead, and Sergio Leone s Once Upon a Time in the West. Featuring several illustrations and a filmography, Undead in the West will appeal to film scholars, especially those interested in hybrid genres, as well as fans of the Western and the supernatural in cinema."}, language = {en}, booktitle = {Undead in the {West}: {Vampires}, {Zombies}, {Mummies}, and {Ghosts} on the {Cinematic} {Frontier}}, publisher = {Scarecrow Press}, author = {Rees, Shelley S.}, editor = {Miller, Cynthia J. and Riper, A. Bowdoin Van}, year = {2012}, pages = {80--96} } @incollection{miller_so_2012, address = {Lanham, MD}, title = {“{So} {This} {Zombie} {Walks} into a {Bar} ...”: {The} {Living}, the {Undead}, and the {Western} {Saloon}}, isbn = {978-0-8108-8544-8}, abstract = {In Undead in the West: Vampires, Zombies, Mummies, and Ghosts on the Cinematic Frontier, Cynthia J. Miller and A. Bowdoin Van Riper have assembled a collection of essays that explore the many tropes and themes through which undead Westerns make the genre s inner plagues and demons visible, and lay siege to a frontier tied to myths of strength, ingenuity, freedom, and independence. The volume is divided into three sections: Reanimating Classic Western Tropes examines traditional Western characters, symbolism, and plot devices and how they are given new life in undead Westerns; The Moral Order Under Siege explores the ways in which the undead confront classic values and morality tales embodied in Western films; and And Hell Followed with Him looks at justice, retribution, and retaliation at the hands of undead angels and avenger. The subjects explored here run the gamut from such B films as Curse of the Undead and Billy the Kid vs. Dracula to A-list features like From Dusk til Dawn and Jonah Hex, as well as animated films (Rango) and television programs (The Walking Dead and Supernatural). Other films discussed include Sam Raimi s Bubba Ho-Tep, John Carpenter s Vampires, George Romero s Land of the Dead, and Sergio Leone s Once Upon a Time in the West. Featuring several illustrations and a filmography, Undead in the West will appeal to film scholars, especially those interested in hybrid genres, as well as fans of the Western and the supernatural in cinema."}, language = {en}, booktitle = {Undead in the {West}: {Vampires}, {Zombies}, {Mummies}, and {Ghosts} on the {Cinematic} {Frontier}}, publisher = {Scarecrow Press}, author = {Miller, Cynthia J.}, editor = {Miller, Cynthia J. and Riper, A. Bowdoin Van}, year = {2012}, pages = {3--18} } @incollection{robnik_im_2011, address = {München}, title = {Im {Zeichen} der {Zombies}: {Untote} {Filmfiguren} als {Denkbilder} in politischen {Filmtheorien}}, isbn = {978-3-933510-55-6}, language = {ger}, booktitle = {Untot: {Zombie}, {Film}, {Theorie}}, publisher = {Belleville}, author = {Robnik, Drehli}, editor = {Fürst, Michael and Krautkrämer, Florian and Wiener, Serjoscha}, year = {2011}, pages = {235--258} } @incollection{rautzenberg_uncanny_2011, address = {München}, title = {Uncanny {Valley}: {Kleine} {Bildtheorie} der {Zombifikation}}, isbn = {978-3-933510-55-6}, language = {ger}, booktitle = {Untot: {Zombie}, {Film}, {Theorie}}, publisher = {Belleville}, author = {Rautzenberg, Markus}, editor = {Fürst, Michael and Krautkrämer, Florian and Wiener, Serjoscha}, year = {2011}, pages = {225--234} } @incollection{meteling_ornament_2011, address = {München}, title = {Das {Ornament} der {Masse}: {Zu} {Chronotopie} und {Medialität} im {Zombiefilm}}, isbn = {978-3-933510-55-6}, language = {ger}, booktitle = {Untot: {Zombie}, {Film}, {Theorie}}, publisher = {Belleville}, author = {Meteling, Arno}, editor = {Fürst, Michael and Krautkrämer, Florian and Wiener, Serjoscha}, year = {2011}, pages = {211--224} } @incollection{wunsch_zombies_2011, address = {München}, title = {Zombies unter {Einfluss} des {Todestriebs}}, isbn = {978-3-933510-55-6}, language = {ger}, booktitle = {Untot: {Zombie}, {Film}, {Theorie}}, publisher = {Belleville}, author = {Wünsch, Michaela}, editor = {Fürst, Michael and Krautkrämer, Florian and Wiener, Serjoscha}, year = {2011}, pages = {181--194} } @incollection{wiener_parasiten_2011, address = {München}, title = {Parasiten und radikale {Entsublimierung} in {David} {Cronenbergs} \textit{{Shivers}}}, isbn = {978-3-933510-55-6}, language = {ger}, booktitle = {Untot: {Zombie}, {Film}, {Theorie}}, publisher = {Belleville}, author = {Wiener, Serjoscha}, editor = {Fürst, Michael and Krautkrämer, Florian and Wiener, Serjoscha}, year = {2011}, pages = {165--180} } @incollection{bock_adaequamus_2011, address = {München}, title = {“{Adaequamus} {Morte}”: {Geschlechteraspekte} in \textit{{Resident} {Evil}}}, isbn = {978-3-933510-55-6}, language = {ger}, booktitle = {Untot: {Zombie}, {Film}, {Theorie}}, publisher = {Belleville}, author = {Bock, Annekatrin and Isermann, Holger and Knieper, Thomas}, editor = {Fürst, Michael and Krautkrämer, Florian and Wiener, Serjoscha}, year = {2011}, keywords = {Gender}, pages = {153--164} } @incollection{klippel_shame_2011, address = {München}, title = {“{Shame} and {Sorrow} for the {Family}”: {Rassen}- und {Sexualproblematik} im klassischen {Zombiefilm}}, isbn = {978-3-933510-55-6}, language = {ger}, booktitle = {Untot: {Zombie}, {Film}, {Theorie}}, publisher = {Belleville}, author = {Klippel, Heike}, editor = {Fürst, Michael and Krautkrämer, Florian and Wiener, Serjoscha}, year = {2011}, pages = {135--152} } @incollection{grilli_ungeheuer_2011, address = {München}, title = {Ein {Ungeheuer} zum {Quadrat}: {Queer}-{Betrachtungen} über den {Film} \textit{{Gay} {Zombie}} von {Michael} {Simon}}, isbn = {978-3-933510-55-6}, language = {ger}, booktitle = {Untot: {Zombie}, {Film}, {Theorie}}, publisher = {Belleville}, author = {Grilli, Alessandro}, editor = {Fürst, Michael and Krautkrämer, Florian and Wiener, Serjoscha}, year = {2011}, pages = {121--134} } @incollection{furst_zombies_2011, address = {München}, title = {Zombies {Over} the {Rainbow}: {Konstruktionen} von {Geschlechtsidentität} im schwulen {Zombiefilm}}, isbn = {978-3-933510-55-6}, language = {ger}, booktitle = {Untot: {Zombie}, {Film}, {Theorie}}, publisher = {Belleville}, author = {Fürst, Michael}, editor = {Fürst, Michael and Krautkrämer, Florian and Wiener, Serjoscha}, year = {2011}, pages = {99--120} } @incollection{maier_festschmaus_2011, address = {München}, title = {Festschmaus für {Fans}: {Der} italienische {Zombiefilm}}, isbn = {978-3-933510-55-6}, language = {ger}, booktitle = {Untot: {Zombie}, {Film}, {Theorie}}, publisher = {Belleville}, author = {Maier, Christian}, editor = {Fürst, Michael and Krautkrämer, Florian and Wiener, Serjoscha}, year = {2011}, pages = {85--98} } @incollection{neumann_leichen_2011, address = {München}, title = {Leichen im {Keller}, {Untote} auf der {Straße}: {Das} {Echo} sozialer {Traumata} im {Zombiefilm}}, isbn = {978-3-933510-55-6}, language = {ger}, booktitle = {Untot: {Zombie}, {Film}, {Theorie}}, publisher = {Belleville}, author = {Neumann, Frank}, editor = {Fürst, Michael and Krautkrämer, Florian and Wiener, Serjoscha}, year = {2011}, pages = {65--84} } @incollection{fuhrmann_gefangene_2011, address = {München}, title = {Der {Gefangene} von {Dahomey}: {Ein} kolonialer {Zombie}}, isbn = {978-3-933510-55-6}, language = {ger}, booktitle = {Untot: {Zombie}, {Film}, {Theorie}}, publisher = {Belleville}, author = {Fuhrmann, Wolfgang}, editor = {Fürst, Michael and Krautkrämer, Florian and Wiener, Serjoscha}, year = {2011}, pages = {37--44} } @incollection{krautkramer_matter_2011, address = {München}, title = {A {Matter} of {Life} and {Death}: {Leben} und {Tod} im {Zombiefilm}}, isbn = {978-3-933510-55-6}, language = {ger}, booktitle = {Untot: {Zombie}, {Film}, {Theorie}}, publisher = {Belleville}, author = {Krautkrämer, Florian}, editor = {Fürst, Michael and Krautkrämer, Florian and Wiener, Serjoscha}, year = {2011}, pages = {19--36} } @incollection{balaji_eating_2013, address = {Lanham}, title = {Eating the {Dead}: {AMC}’s {Use} of {Synergy} to {Cultivate} {Zombie} {Consumption}}, isbn = {978-0-7391-8382-3}, booktitle = {Thinking {Dead}: {What} the {Zombie} {Apocalypse} {Means}}, publisher = {Lexington Books}, author = {Balaji, Murali}, editor = {Balaji, Murali}, year = {2013}, keywords = {Consumerism}, pages = {227--240} } @incollection{balaji_heart-throb_2013, address = {Lanham}, title = {The {Heart}-{Throb} {Zombie}: {Teen} {Movies} and {Summit} {Entertainment}’s {Construction} of \textit{{Warm} {Bodies}}}, isbn = {978-0-7391-8382-3}, booktitle = {Thinking {Dead}: {What} the {Zombie} {Apocalypse} {Means}}, publisher = {Lexington Books}, author = {Buckley, Catherine}, editor = {Balaji, Murali}, year = {2013}, keywords = {Romance}, pages = {215--226} } @incollection{balaji_space_2013, address = {Lanham}, title = {Space {Junk} and the {Second} {Event}: {The} {Cosmic} {Meaning} of the {Zombie} {Apocalypse}}, isbn = {978-0-7391-8382-3}, booktitle = {Thinking {Dead}: {What} the {Zombie} {Apocalypse} {Means}}, publisher = {Lexington Books}, author = {Vacker, Barry}, editor = {Balaji, Murali}, year = {2013}, pages = {159--180} } @incollection{balaji_leave_2013, address = {Lanham}, title = {Leave {It} {All} {Behind}: {The} {Post}-{Apocalyptical} {Renunciation} of {Technology} in \textit{{The} {Walking} {Dead}}}, isbn = {978-0-7391-8382-3}, booktitle = {Thinking {Dead}: {What} the {Zombie} {Apocalypse} {Means}}, publisher = {Lexington Books}, author = {Kozma, Alicia}, editor = {Balaji, Murali}, year = {2013}, pages = {141--158} } @incollection{balaji_gothic_2013, address = {Lanham}, title = {Gothic {Monster} and {Chinese} {Cultural} {Identity}: {Analysis} of \textit{{The} {Note} of {Ghoul}}}, isbn = {978-0-7391-8382-3}, booktitle = {Thinking {Dead}: {What} the {Zombie} {Apocalypse} {Means}}, publisher = {Lexington Books}, author = {Bai, Meijadai}, editor = {Balaji, Murali}, year = {2013}, pages = {105--126} } @incollection{balaji_zombie_2013, address = {Lanham}, title = {The {Zombie} {Media} {Monster}’s {Evolution} to {Empty} {Undead} {Signifier}}, isbn = {978-0-7391-8382-3}, booktitle = {Thinking {Dead}: {What} the {Zombie} {Apocalypse} {Means}}, publisher = {Lexington Books}, author = {Lizardi, Ryan}, editor = {Balaji, Murali}, year = {2013}, pages = {89--104} } @incollection{balaji_social_2013, address = {Lanham}, title = {The {Social} {Dead}: {How} {Our} {Zombie} {Baggage} {Threatens} to {Drag} {Us} into the {Crypts} of {Our} {Past}}, isbn = {978-0-7391-8382-3}, booktitle = {Thinking {Dead}: {What} the {Zombie} {Apocalypse} {Means}}, publisher = {Lexington Books}, author = {Cirucci, Angela M.}, editor = {Balaji, Murali}, year = {2013}, pages = {17--29} } @incollection{balaji_simulating_2013, address = {Lanham}, title = {Simulating the {Zombie} {Apocalypse} in {Popular} {Culture} and {Media}}, isbn = {978-0-7391-8382-3}, booktitle = {Thinking {Dead}: {What} the {Zombie} {Apocalypse} {Means}}, publisher = {Lexington Books}, author = {Hamilton, Patrick L.}, editor = {Balaji, Murali}, year = {2013}, pages = {45--62} } @incollection{balaji_perfect_2013, address = {Lanham}, title = {Perfect {Strangers}: {The} {Zombie} {Imaginary} and the {Logic} of {Representation}}, isbn = {978-0-7391-8382-3}, booktitle = {Thinking {Dead}: {What} the {Zombie} {Apocalypse} {Means}}, publisher = {Lexington Books}, author = {Coonfield, Gordon}, editor = {Balaji, Murali}, year = {2013}, pages = {3--16} } @incollection{marks_i_2014, address = {Jefferson, NC}, series = {Contributions to zombie studies}, title = {“{I} {Eat} {Brains} ... or {Dick}”: {Sexual} {Subjectivity} and the {Hierarchy} of the {Undead} in {Hardcore} {Film}}, isbn = {978-0-7864-7907-8}, abstract = {"Since the early 2000s, zombies have increasingly swarmed the landscape of popular culture. A growing number of zombie narratives have introduced sexual themes, endowing the living dead with their own sexual identity. The unpleasant idea of the sexual zombie is itself provocative, triggering questions about the nature of desire, sex, sexuality, and the politics of sexual behaviors"--}, booktitle = {Zombies and {Sexuality}: {Essays} on {Desire} and the {Living} {Dead}}, publisher = {McFarland}, author = {Marks, Laura Helen}, editor = {McGlotten, Shaka and Jones, Steve}, year = {2014}, pages = {159--179} } @incollection{elliott-smith_gay_2014, address = {Jefferson, NC}, series = {Contributions to zombie studies}, title = {Gay {Zombies}: {Consuming} {Masculinity} and {Community} in {Bruce} {LaBruce}’s \textit{{Otto}; or {Up} with {Dead} {People}} and \textit{{L}.{A}. {Zombie}}}, isbn = {978-0-7864-7907-8}, abstract = {"Since the early 2000s, zombies have increasingly swarmed the landscape of popular culture. A growing number of zombie narratives have introduced sexual themes, endowing the living dead with their own sexual identity. The unpleasant idea of the sexual zombie is itself provocative, triggering questions about the nature of desire, sex, sexuality, and the politics of sexual behaviors"--}, booktitle = {Zombies and {Sexuality}: {Essays} on {Desire} and the {Living} {Dead}}, publisher = {McFarland}, author = {Elliott-Smith, Darren}, editor = {McGlotten, Shaka and Jones, Steve}, year = {2014}, pages = {140--158} } @incollection{grizzell_re-animating_2014, address = {Jefferson, NC}, series = {Contributions to zombie studies}, title = {Re-{Animating} the {Social} {Order}: {Zombies} and {Queer} {Failure}}, isbn = {978-0-7864-7907-8}, abstract = {"Since the early 2000s, zombies have increasingly swarmed the landscape of popular culture. A growing number of zombie narratives have introduced sexual themes, endowing the living dead with their own sexual identity. The unpleasant idea of the sexual zombie is itself provocative, triggering questions about the nature of desire, sex, sexuality, and the politics of sexual behaviors"--}, booktitle = {Zombies and {Sexuality}: {Essays} on {Desire} and the {Living} {Dead}}, publisher = {McFarland}, author = {Grizzell, Trevor}, editor = {McGlotten, Shaka and Jones, Steve}, year = {2014}, pages = {123--139} } @incollection{cook_for_2014, address = {Jefferson, NC}, series = {Contributions to zombie studies}, title = {For a {Good} {Time} {Just} {Scream}: {Sex} {Work} and {Plastic} {Sexuality} in “{Dystopicmodern} {Literature}”}, isbn = {978-0-7864-7907-8}, abstract = {"Since the early 2000s, zombies have increasingly swarmed the landscape of popular culture. A growing number of zombie narratives have introduced sexual themes, endowing the living dead with their own sexual identity. The unpleasant idea of the sexual zombie is itself provocative, triggering questions about the nature of desire, sex, sexuality, and the politics of sexual behaviors"--}, booktitle = {Zombies and {Sexuality}: {Essays} on {Desire} and the {Living} {Dead}}, publisher = {McFarland}, author = {Cook, Denise N.}, editor = {McGlotten, Shaka and Jones, Steve}, year = {2014}, pages = {73--87} } @incollection{harmes_victorian_2014, address = {Jefferson, NC}, series = {Contributions to zombie studies}, title = {Victorian {Values}: {Necrophilia} and the {Nineteenth} {Century} in {Zombie} {Films}}, isbn = {978-0-7864-7907-8}, abstract = {"Since the early 2000s, zombies have increasingly swarmed the landscape of popular culture. A growing number of zombie narratives have introduced sexual themes, endowing the living dead with their own sexual identity. The unpleasant idea of the sexual zombie is itself provocative, triggering questions about the nature of desire, sex, sexuality, and the politics of sexual behaviors"--}, booktitle = {Zombies and {Sexuality}: {Essays} on {Desire} and the {Living} {Dead}}, publisher = {McFarland}, author = {Harmes, Marcus}, editor = {McGlotten, Shaka and Jones, Steve}, year = {2014}, pages = {36--51} } @incollection{thornton_take_2014, address = {Jefferson, NC}, series = {Contributions to zombie studies}, title = {Take, {Eat}, {These} {Are} {My} {Brains}: {Queer} {Zombie} {Jesus}}, isbn = {978-0-7864-7907-8}, abstract = {"Since the early 2000s, zombies have increasingly swarmed the landscape of popular culture. A growing number of zombie narratives have introduced sexual themes, endowing the living dead with their own sexual identity. The unpleasant idea of the sexual zombie is itself provocative, triggering questions about the nature of desire, sex, sexuality, and the politics of sexual behaviors"--}, booktitle = {Zombies and {Sexuality}: {Essays} on {Desire} and the {Living} {Dead}}, publisher = {McFarland}, author = {Thornton, Max}, editor = {McGlotten, Shaka and Jones, Steve}, year = {2014}, pages = {19--35} } @incollection{leverette_funk_2008, address = {Lanham, Md}, title = {The {Funk} of {Forty} {Thousand} {Years}; or, {How} the ({Un}){Dead} {Get} {Their} {Groove} {On}}, isbn = {978-0-8108-6043-8}, booktitle = {Zombie {Culture}: {Autopsies} of the {Living} {Dead}}, publisher = {Scarecrow Press}, author = {Leverette, Marc}, editor = {McIntosh, Shawn and Leverette, Marc}, year = {2008}, pages = {185--212} } @incollection{scott_now_2008, address = {Lanham, Md}, title = {“{Now} {I}’m {Feeling} {Zombified}”: {Playing} the {Zombie} {Online}}, isbn = {978-0-8108-6043-8}, booktitle = {Zombie {Culture}: {Autopsies} of the {Living} {Dead}}, publisher = {Scarecrow Press}, author = {Scott, Ron}, editor = {McIntosh, Shawn and Leverette, Marc}, year = {2008}, pages = {169--184} } @incollection{sklar_cant_2008, address = {Lanham, Md}, title = {Can’t {Sleep} {When} {You}’re {Dead}: {Sex}, {Drugs}, {Rock} and {Roll}, and the {Undead} in {Psychobilly}}, isbn = {978-0-8108-6043-8}, booktitle = {Zombie {Culture}: {Autopsies} of the {Living} {Dead}}, publisher = {Scarecrow Press}, author = {Sklar, Annelise}, editor = {McIntosh, Shawn and Leverette, Marc}, year = {2008}, pages = {135--152} } @incollection{rogers_hybridity_2008, address = {Lanham, Md}, title = {Hybridity and {Post}-{Human} {Anxiety} in \textit{28 {Days} {Later}}}, isbn = {978-0-8108-6043-8}, booktitle = {Zombie {Culture}: {Autopsies} of the {Living} {Dead}}, publisher = {Scarecrow Press}, author = {Rogers, Martin}, editor = {McIntosh, Shawn and Leverette, Marc}, year = {2008}, pages = {119--134} } @incollection{patterson_cannibalizing_2008, address = {Lanham, Md}, title = {Cannibalizing {Gender} and {Genre}: {A} {Feminist} {Re}-{Vision} of {George} {Romero}’s {Zombie} {Films}}, isbn = {978-0-8108-6043-8}, booktitle = {Zombie {Culture}: {Autopsies} of the {Living} {Dead}}, publisher = {Scarecrow Press}, author = {Patterson, Natasha}, editor = {McIntosh, Shawn and Leverette, Marc}, year = {2008}, pages = {103--118} } @incollection{pagano_space_2008, address = {Lanham, Md}, title = {The {Space} of {Apocalypse} in {Zombie} {Cinema}}, isbn = {978-0-8108-6043-8}, booktitle = {Zombie {Culture}: {Autopsies} of the {Living} {Dead}}, publisher = {Scarecrow Press}, author = {Pagano, David}, editor = {McIntosh, Shawn and Leverette, Marc}, year = {2008}, pages = {55--70} } @incollection{obrien_vita_2008, address = {Lanham, Md}, title = {\textit{{Vita}, {Amore}, e {Morte}}—and {Lots} of {Gore}: {The} {Italian} {Zombie} {Film}}, isbn = {978-0-8108-6043-8}, booktitle = {Zombie {Culture}: {Autopsies} of the {Living} {Dead}}, publisher = {Scarecrow Press}, author = {O’Brien, Brad}, editor = {McIntosh, Shawn and Leverette, Marc}, year = {2008}, pages = {55--70} } @incollection{koven_folklore_2008, address = {Lanham, Md}, title = {The {Folklore} of the {Zombie} {Film}}, isbn = {978-0-8108-6043-8}, booktitle = {Zombie {Culture}: {Autopsies} of the {Living} {Dead}}, publisher = {Scarecrow Press}, author = {Koven, Mikel J.}, editor = {McIntosh, Shawn and Leverette, Marc}, year = {2008}, pages = {19--34} } @incollection{mcintosh_evolution_2008, address = {Lanham, Md}, title = {The {Evolution} of the {Zombie}: {The} {Monster} {That} {Keeps} {Coming} {Back}}, isbn = {978-0-8108-6043-8}, booktitle = {Zombie {Culture}: {Autopsies} of the {Living} {Dead}}, publisher = {Scarecrow Press}, author = {McIntosh, Shawn}, editor = {McIntosh, Shawn and Leverette, Marc}, year = {2008}, pages = {1--18} } @incollection{murray_when_2010, address = {Chicago and La Salle, IL}, title = {When {They} {Aren}’t {Eating} {Us}, {They} {Bring} {Us} {Together}: {Zombies} and the {American} {Social} {Contract}}, language = {en}, booktitle = {Zombies, {Vampires}, and {Philosophy}: {New} {Life} for the {Undead}}, publisher = {Open Court}, author = {Murray, Leah A.}, editor = {Greene, Richard and Mohammad, K. Silem}, year = {2010}, pages = {211--220} } @incollection{clark_undead_2010, address = {Chicago and La Salle, IL}, title = {The {Undead} {Martyr}: {Sex}, {Death}, and {Revolution} in {George} {Romero}’s {Zombie} {Films}}, language = {en}, booktitle = {Zombies, {Vampires}, and {Philosophy}: {New} {Life} for the {Undead}}, publisher = {Open Court}, author = {Clark, Simon}, editor = {Greene, Richard and Mohammad, K. Silem}, year = {2010}, pages = {197--210} } @incollection{jacquette_zombie_2010, address = {Chicago and La Salle, IL}, title = {Zombie {Gladiators}}, language = {en}, booktitle = {Zombies, {Vampires}, and {Philosophy}: {New} {Life} for the {Undead}}, publisher = {Open Court}, author = {Jacquette, Dale}, editor = {Greene, Richard and Mohammad, K. Silem}, year = {2010}, pages = {105--118} } @incollection{mohammad_zombies_2010, address = {Chicago and La Salle, IL}, title = {Zombies, {Rest} and {Motion}: {Spinoza} and the {Speed} of {Undeath}}, language = {en}, booktitle = {Zombies, {Vampires}, and {Philosophy}: {New} {Life} for the {Undead}}, publisher = {Open Court}, author = {Mohammad, K. Silem}, editor = {Greene, Richard and Mohammad, K. Silem}, year = {2010}, pages = {91--102} } @incollection{walker_when_2010, address = {Chicago and La Salle, IL}, title = {When {There}’s {No} {More} {Room} in {Hell}, the {Dead} {Will} {Shop} the {Earth}: {Romero} and {Aristotle} on {Zombies}, {Happiness}, and {Consumption}}, language = {en}, booktitle = {Zombies, {Vampires}, and {Philosophy}: {New} {Life} for the {Undead}}, publisher = {Open Court}, author = {Walker, Matthew}, editor = {Greene, Richard and Mohammad, K. Silem}, year = {2010}, pages = {81--90} } @incollection{hauser_zombies_2010, address = {Chicago and La Salle, IL}, title = {Zombies, \textit{{Blade} {Runner}}, and the {Mind}-{Body} {Problem}}, language = {en}, booktitle = {Zombies, {Vampires}, and {Philosophy}: {New} {Life} for the {Undead}}, publisher = {Open Court}, author = {Hauser, Larry}, editor = {Greene, Richard and Mohammad, K. Silem}, year = {2010}, pages = {53--66} } @incollection{vargas_dead_2010, address = {Chicago and La Salle, IL}, title = {Dead {Serious}: {Evil} and the {Ontology} of the {Undead}}, language = {en}, booktitle = {Zombies, {Vampires}, and {Philosophy}: {New} {Life} for the {Undead}}, publisher = {Open Court}, author = {Vargas, Manuel}, editor = {Greene, Richard and Mohammad, K. Silem}, year = {2010}, pages = {39--52} } @incollection{larkin_res_2010, address = {Chicago and La Salle, IL}, title = {\textit{{Res} {Corporealis}}: {Persons}, {Bodies}, and {Zombies}}, language = {en}, booktitle = {Zombies, {Vampires}, and {Philosophy}: {New} {Life} for the {Undead}}, publisher = {Open Court}, author = {Larkin, William S.}, editor = {Greene, Richard and Mohammad, K. Silem}, year = {2010}, pages = {15--26} } @incollection{thompson_shes_2010, address = {Chicago and La Salle, IL}, title = {“{She}’s {Not} {Your} {Mother} {Anymore}, {She}’s a {Zombie}!”: {Zombies}, {Value}, and {Personal} {Identity}}, language = {en}, booktitle = {Zombies, {Vampires}, and {Philosophy}: {New} {Life} for the {Undead}}, publisher = {Open Court}, author = {Thompson, Hamish}, editor = {Greene, Richard and Mohammad, K. Silem}, year = {2010}, pages = {29--38} } @incollection{greene_badness_2010, address = {Chicago and La Salle, IL}, title = {The {Badness} of {Undeath}}, language = {en}, booktitle = {Zombies, {Vampires}, and {Philosophy}: {New} {Life} for the {Undead}}, publisher = {Open Court}, author = {Greene, Richard}, editor = {Greene, Richard and Mohammad, K. Silem}, year = {2010}, pages = {3--14} } @incollection{richardson_myth_2010, address = {New York}, title = {The {Myth} of the {Zombie}}, language = {en}, booktitle = {Otherness in {Hollywood} {Cinema}}, publisher = {Continuum}, author = {Richardson, Michael}, year = {2010}, pages = {121--136} } @book{flint_zombie_2008, address = {London}, title = {Zombie {Holocaust}: {How} the {Living} {Dead} {Devoured} {Pop} {Culture}}, isbn = {978-0-85965-397-8}, shorttitle = {Zombie holocaust}, language = {English}, publisher = {Plexus}, author = {Flint, David}, year = {2008} } @incollection{grossman_survivalism_2011, address = {Holicong, PA}, title = {Survivalism}, isbn = {978-1-4344-4035-8}, language = {English}, urldate = {2016-05-15}, booktitle = {Sense of {Wonder} a {Century} of {Science} {Fiction}}, publisher = {Wildside Press}, author = {Bishop, Kyle William}, editor = {Grossman, Leigh}, year = {2011}, pages = {928--930} } @incollection{keetley_talking_2014, address = {Jefferson, NC}, title = {“{Talking} {Bodies}” in a {Zombie} {Apocalypse}: {From} the {Discursive} to the {Shitty} {Sublime}}, isbn = {978-0-7864-7628-2}, abstract = {"This edited collection brings together an introduction and 13 original scholarly essays on AMC's The Walking Dead. The first group of essays addresses the pervasive bloodletting of the series: What are the consequences of the series' unremitting violence? The second half of the collection explores an equally urgent question: What does it mean to be human?"--}, booktitle = {"{We}'re {All} {Infected}": {Essays} on {AMC}'s \textit{{The} {Walking} {Dead}} and the {Fate} of the {Human}}, publisher = {McFarland}, author = {Farnell, Gary}, editor = {Keetley, Dawn}, year = {2014}, pages = {173--185} } @incollection{moreman_introduction:_2011, address = {Jefferson, NC}, title = {Introduction: {Race}, {Colonialism}, and the {Evolution} of the “{Zombie}”}, isbn = {978-0-7864-5911-7}, abstract = {"This book explores numerous aspects of the zombie phenomenon, from its roots in Haitian folklore, to its evolution on the silver screen, to its most radical transformation during the 1960s countercultural revolution. Contributors examine the zombie and its relationship to colonialism, orientalism, racism, globalism, capitalism and more"--Provided by publisher}, booktitle = {Race, {Oppression} and the {Zombie}: {Essays} on {Cross}-{Cultural} {Appropriations} of the {Caribbean} {Tradition}}, publisher = {McFarland}, author = {Rushton, Cory J. and Moreman, Christopher M.}, editor = {Moreman, Christopher M. and Rushton, Cory J.}, year = {2011}, pages = {1--14} } @incollection{kordas_new_2011, address = {Jefferson, NC}, title = {New {South}, {New} {Immigrants}, {New} {Women}, {New} {Zombies}: {The} {Historical} {Development} of the {Zombie} in {American} {Popular} {Culture}}, isbn = {978-0-7864-5911-7}, abstract = {"This book explores numerous aspects of the zombie phenomenon, from its roots in Haitian folklore, to its evolution on the silver screen, to its most radical transformation during the 1960s countercultural revolution. Contributors examine the zombie and its relationship to colonialism, orientalism, racism, globalism, capitalism and more"--Provided by publisher}, booktitle = {Race, {Oppression} and the {Zombie}: {Essays} on {Cross}-{Cultural} {Appropriations} of the {Caribbean} {Tradition}}, publisher = {McFarland}, author = {Kordas, Ann}, editor = {Moreman, Christopher M. and Rushton, Cory J.}, year = {2011}, pages = {15--30} } @incollection{keresztesi_hurston_2011, address = {Jefferson, NC}, title = {Hurston in {Haiti}: {Neocolonialism} and {Zombification}}, isbn = {978-0-7864-5911-7}, abstract = {"This book explores numerous aspects of the zombie phenomenon, from its roots in Haitian folklore, to its evolution on the silver screen, to its most radical transformation during the 1960s countercultural revolution. Contributors examine the zombie and its relationship to colonialism, orientalism, racism, globalism, capitalism and more"--Provided by publisher}, booktitle = {Race, {Oppression} and the {Zombie}: {Essays} on {Cross}-{Cultural} {Appropriations} of the {Caribbean} {Tradition}}, publisher = {McFarland}, author = {Keresztesi, Rita}, editor = {Moreman, Christopher M. and Rushton, Cory J.}, year = {2011}, pages = {31--41} } @incollection{inglis_putting_2011, address = {Jefferson, NC}, title = {Putting the {Undead} to {Work}: {Wade} {Davis}, {Haitian} {Vodou}, and the {Social} {Uses} of the {Zombie}}, isbn = {978-0-7864-5911-7}, abstract = {"This book explores numerous aspects of the zombie phenomenon, from its roots in Haitian folklore, to its evolution on the silver screen, to its most radical transformation during the 1960s countercultural revolution. Contributors examine the zombie and its relationship to colonialism, orientalism, racism, globalism, capitalism and more"--Provided by publisher}, booktitle = {Race, {Oppression} and the {Zombie}: {Essays} on {Cross}-{Cultural} {Appropriations} of the {Caribbean} {Tradition}}, publisher = {McFarland}, author = {Inglis, David}, editor = {Moreman, Christopher M. and Rushton, Cory J.}, year = {2011}, pages = {42--59} } @incollection{bruce_guess_2011, address = {Jefferson, NC}, title = {Guess {Who}’s {Going} to {Be} {Dinner}: {Sidney} {Poitier}, {Black} {Militancy}, and the {Ambivalence} of {Race} in {Romero}’s \textit{{Night} of the {Living} {Dead}}}, isbn = {978-0-7864-5911-7}, abstract = {"This book explores numerous aspects of the zombie phenomenon, from its roots in Haitian folklore, to its evolution on the silver screen, to its most radical transformation during the 1960s countercultural revolution. Contributors examine the zombie and its relationship to colonialism, orientalism, racism, globalism, capitalism and more"--Provided by publisher}, booktitle = {Race, {Oppression} and the {Zombie}: {Essays} on {Cross}-{Cultural} {Appropriations} of the {Caribbean} {Tradition}}, publisher = {McFarland}, author = {Bruce, Barbara S.}, editor = {Moreman, Christopher M. and Rushton, Cory J.}, year = {2011}, keywords = {Postcolonialism/Race}, pages = {60--76} } @incollection{datta_time_2011, address = {Jefferson, NC}, title = {Time for {Zombies}: {Sacrifice} and the {Structural} {Phenomenology} of {Capitalist} {Futures}}, isbn = {978-0-7864-5911-7}, abstract = {"This book explores numerous aspects of the zombie phenomenon, from its roots in Haitian folklore, to its evolution on the silver screen, to its most radical transformation during the 1960s countercultural revolution. Contributors examine the zombie and its relationship to colonialism, orientalism, racism, globalism, capitalism and more"--Provided by publisher}, booktitle = {Race, {Oppression} and the {Zombie}: {Essays} on {Cross}-{Cultural} {Appropriations} of the {Caribbean} {Tradition}}, publisher = {McFarland}, author = {Datta, Ronjon Paul and MacDonald, Laura}, editor = {Moreman, Christopher M. and Rushton, Cory J.}, year = {2011}, pages = {77--92} } @incollection{stinson_zombified_2011, address = {Jefferson, NC}, title = {Zombified {Capital} and the {Postcolonial} {Capital}: {Circulation} (of {Blood}) in {Sony} {Labou} {Tansi}’s \textit{{Parentheses} of {Blood}}}, isbn = {978-0-7864-5911-7}, abstract = {"This book explores numerous aspects of the zombie phenomenon, from its roots in Haitian folklore, to its evolution on the silver screen, to its most radical transformation during the 1960s countercultural revolution. Contributors examine the zombie and its relationship to colonialism, orientalism, racism, globalism, capitalism and more"--Provided by publisher}, booktitle = {Race, {Oppression} and the {Zombie}: {Essays} on {Cross}-{Cultural} {Appropriations} of the {Caribbean} {Tradition}}, publisher = {McFarland}, author = {Stinson, Elizabeth A.}, editor = {Moreman, Christopher M. and Rushton, Cory J.}, year = {2011}, pages = {93--106} } @incollection{hamako_zombie_2011, address = {Jefferson, NC}, title = {Zombie {Orientals} {Ate} {My} {Brain}! {Orientalism} in {Contemporary} {Zombie} {Stories}}, isbn = {978-0-7864-5911-7}, abstract = {"This book explores numerous aspects of the zombie phenomenon, from its roots in Haitian folklore, to its evolution on the silver screen, to its most radical transformation during the 1960s countercultural revolution. Contributors examine the zombie and its relationship to colonialism, orientalism, racism, globalism, capitalism and more"--Provided by publisher}, booktitle = {Race, {Oppression} and the {Zombie}: {Essays} on {Cross}-{Cultural} {Appropriations} of the {Caribbean} {Tradition}}, publisher = {McFarland}, author = {Hamako, Eric}, editor = {Moreman, Christopher M. and Rushton, Cory J.}, year = {2011}, pages = {107--123} } @incollection{graham_post-9/11_2011, address = {Jefferson, NC}, title = {Post-9/11 {Anxieties}: {Unpredictability} and {Complacency} in the {Age} of {New} {Terrorism} in \textit{{Dawn} of the {Dead}} (2004)}, isbn = {978-0-7864-5911-7}, abstract = {"This book explores numerous aspects of the zombie phenomenon, from its roots in Haitian folklore, to its evolution on the silver screen, to its most radical transformation during the 1960s countercultural revolution. Contributors examine the zombie and its relationship to colonialism, orientalism, racism, globalism, capitalism and more"--Provided by publisher}, booktitle = {Race, {Oppression} and the {Zombie}: {Essays} on {Cross}-{Cultural} {Appropriations} of the {Caribbean} {Tradition}}, publisher = {McFarland}, author = {Graham, Becki A.}, editor = {Moreman, Christopher M. and Rushton, Cory J.}, year = {2011}, pages = {124--138} } @incollection{miller_rise_2011, address = {Jefferson, NC}, title = {The {Rise} and {Fall} – and {Rise} – of the {Nazi} {Zombie} in {Film}}, isbn = {978-0-7864-5911-7}, abstract = {"This book explores numerous aspects of the zombie phenomenon, from its roots in Haitian folklore, to its evolution on the silver screen, to its most radical transformation during the 1960s countercultural revolution. Contributors examine the zombie and its relationship to colonialism, orientalism, racism, globalism, capitalism and more"--Provided by publisher}, booktitle = {Race, {Oppression} and the {Zombie}: {Essays} on {Cross}-{Cultural} {Appropriations} of the {Caribbean} {Tradition}}, publisher = {McFarland}, author = {Miller, Cynthia J.}, editor = {Moreman, Christopher M. and Rushton, Cory J.}, year = {2011}, pages = {139--148} } @incollection{rushton_eating_2011, address = {Jefferson, NC}, title = {Eating {Ireland}: {Zombies}, {Snakes} and {Missionaries} in \textit{{Boy} {Eats} {Girl}}}, isbn = {978-0-7864-5911-7}, abstract = {"This book explores numerous aspects of the zombie phenomenon, from its roots in Haitian folklore, to its evolution on the silver screen, to its most radical transformation during the 1960s countercultural revolution. Contributors examine the zombie and its relationship to colonialism, orientalism, racism, globalism, capitalism and more"--Provided by publisher}, booktitle = {Race, {Oppression} and the {Zombie}: {Essays} on {Cross}-{Cultural} {Appropriations} of the {Caribbean} {Tradition}}, publisher = {McFarland}, author = {Rushton, Cory J.}, editor = {Moreman, Christopher M. and Rushton, Cory J.}, year = {2011}, pages = {149--161} } @incollection{braun_its_2011, address = {Jefferson, NC}, title = {It’s {So} {Hard} to {Get} {Good} {Help} {These} {Days}: {Zombies} as a {Culturally} {Stabilizing} {Force} in \textit{{Fido}} (2006)}, isbn = {978-0-7864-5911-7}, abstract = {"This book explores numerous aspects of the zombie phenomenon, from its roots in Haitian folklore, to its evolution on the silver screen, to its most radical transformation during the 1960s countercultural revolution. Contributors examine the zombie and its relationship to colonialism, orientalism, racism, globalism, capitalism and more"--Provided by publisher}, booktitle = {Race, {Oppression} and the {Zombie}: {Essays} on {Cross}-{Cultural} {Appropriations} of the {Caribbean} {Tradition}}, publisher = {McFarland}, author = {Braun, Michele}, editor = {Moreman, Christopher M. and Rushton, Cory J.}, year = {2011}, pages = {162--176} } @incollection{dutton_zombie_2011, address = {Jefferson, NC}, title = {Zombie {Categories}, {Religion} and the {New} {False} {Rationalism}}, isbn = {978-0-7864-5911-7}, abstract = {"This book explores numerous aspects of the zombie phenomenon, from its roots in Haitian folklore, to its evolution on the silver screen, to its most radical transformation during the 1960s countercultural revolution. Contributors examine the zombie and its relationship to colonialism, orientalism, racism, globalism, capitalism and more"--Provided by publisher}, booktitle = {Race, {Oppression} and the {Zombie}: {Essays} on {Cross}-{Cultural} {Appropriations} of the {Caribbean} {Tradition}}, publisher = {McFarland}, author = {Dutton, Edward}, editor = {Moreman, Christopher M. and Rushton, Cory J.}, year = {2011}, pages = {177--190} } @incollection{beisecker_nothing_2011, address = {Jefferson, NC}, title = {Nothing but {Meat}? {Philosophical} {Zombies} and {Their} {Cinematic} {Counterparts}}, isbn = {978-0-7864-5911-7}, abstract = {"This book explores numerous aspects of the zombie phenomenon, from its roots in Haitian folklore, to its evolution on the silver screen, to its most radical transformation during the 1960s countercultural revolution. Contributors examine the zombie and its relationship to colonialism, orientalism, racism, globalism, capitalism and more"--Provided by publisher}, booktitle = {Race, {Oppression} and the {Zombie}: {Essays} on {Cross}-{Cultural} {Appropriations} of the {Caribbean} {Tradition}}, publisher = {McFarland}, author = {Beisecker, Dave}, editor = {Moreman, Christopher M. and Rushton, Cory J.}, year = {2011}, pages = {191--206} } @book{inguanzo_zombies_2014, address = {New York, NY}, title = {Zombies on {Film}: {The} {Definitive} {Story} of {Undead} {Cinema}}, isbn = {978-0-7893-2739-0}, shorttitle = {Zombies on film}, publisher = {Rizzoli}, author = {Inguanzo, Ozzy}, year = {2014} } @incollection{allen_walking_2014, address = {New York; London}, series = {Routledge {Research} in {Cultural} and {Media} {Studies}}, title = {\textit{{The} {Walking} {Dead}}: {Quality} {Television}, {Transmedia} {Serialization} and {Zombies}}, isbn = {978-0-415-70426-7}, abstract = {"From prime-time television shows and graphic novels to the development of computer game expansion packs, the recent explosion of popular serials has provoked renewed interest in the history and economics of serialization, as well as the impact of this cultural form on readers, viewers, and gamers. In this volume, contributors--literary scholars, media theorists, and specialists in comics, graphic novels, and digital culture--examine the economic, narratological, and social effects of serials from the nineteenth to the twenty-first century and offer some predictions of where the form will go from here. "--}, number = {62}, booktitle = {Serialization in {Popular} {Culture}}, publisher = {Routledge}, author = {Hassler-Forest, Dan}, editor = {Allen, Rob and Berg, Thijs van den}, year = {2014}, pages = {91--105} } @incollection{jaffe_zombie_2014, address = {Bloomington, IN}, title = {Zombie {Demographics}}, isbn = {978-0-253-01387-3}, url = {http://www.jstor.org/stable/j.ctt16gzg4q.6}, abstract = {{\textless}p{\textgreater}The first is marked by a silhouetted human form, shambling along the interface between earth and sky; a head flops to one side. In a word: zombie! A corpse that doesn\&\#x2019;t know it\&\#x2019;s dead, as George A. Romero defined the concept, a concept he still refuses to name out loud. \&\#x201c;A Zombie being a corpse that won\&\#x2019;t give in and admit it,\&\#x201d; reads the communiqu\&\#xe9; in{\textless}em{\textgreater}Pacific Islands Monthly{\textless}/em{\textgreater}from the outermost rim, even earlier, arriving right after V-J Day (49). The uplink from Zombieville reports that \&\#x201c;the sea is flat, an opaque disc of green-blue . . . without{\textless}/p{\textgreater}}, booktitle = {The {Year}'s {Work} at the {Zombie} {Research} {Center}}, publisher = {Indiana University Press}, author = {Jaffe, Aaron}, editor = {Jaffe, Aaron and Comentale, Edward P.}, year = {2014}, pages = {89--115} } @incollection{comentale_zombie_2014, address = {Bloomington, IN}, title = {Zombie {Race}}, isbn = {978-0-253-01387-3}, url = {http://www.jstor.org/stable/j.ctt16gzg4q.12}, abstract = {{\textless}p{\textgreater}It begins with a thump, or rather, a scrape and a thump.{\textless}em{\textgreater}Shhh-thump.{\textless}/em{\textgreater}The monster appears first as sound and then rhythm, or, rather, counter- rhythm. Its presence is made known, paradoxically, by its double absence, one physical and the other temporal.{\textless}/p{\textgreater}{\textless}p{\textgreater}It lags, behind itself, drags itself, before itself, somewhere in back of you, in front of you, over your shoulder\&\#x2014;always where it is not.{\textless}em{\textgreater}Shhh-thump.{\textless}/em{\textgreater}Its second beat is scarier than the first, not just because it is louder, closer, but because it recalls the first. The monster is always in two\&\#x2014;two spaces, two times. It{\textless}/p{\textgreater}}, booktitle = {The {Year}'s {Work} at the {Zombie} {Research} {Center}}, publisher = {Indiana University Press}, author = {Comentale, Edward P.}, editor = {Comentale, Edward P. and Jaffe, Aaron}, year = {2014}, pages = {276--314} } @incollection{watt_zombie_2014, address = {Bloomington, IN}, title = {Zombie {Psychology}}, isbn = {978-0-253-01387-3}, url = {http://www.jstor.org/stable/j.ctt16gzg4q.5}, abstract = {{\textless}p{\textgreater}Two scenes in Ruben Fleisher\&\#x2019;s{\textless}em{\textgreater}Zombieland{\textless}/em{\textgreater}(2009) emblematize key psychical and affective dimensions of much zombie culture, dimensions that are often subordinated in critical discussions to such terms as{\textless}em{\textgreater}terror{\textless}/em{\textgreater}or{\textless}em{\textgreater}horror{\textless}/em{\textgreater}or neglected altogether. At first glance the earlier of these scenes seems almost silly\&\#x2014;so much fodder for gifted actors to exploit\&\#x2014;and irrelevant both to the film\&\#x2019;s narrative and to the larger psychical and affective issues inherent to such recent films as 28{\textless}em{\textgreater}Days Later (2002), Shaun of the Dead (2004), Pontypool (2009),{\textless}/em{\textgreater}and others. After Tallahassee (Woody Harrelson), zombie exterminator extraordinaire and one of the film\&\#x2019;s{\textless}/p{\textgreater}}, booktitle = {The {Year}'s {Work} at the {Zombie} {Research} {Center}}, publisher = {Indiana University Press}, author = {Watt, Stephen}, editor = {Comentale, Edward P. and Jaffe, Aaron}, year = {2014}, pages = {59--88} } @incollection{shapiro_zombie_2014, address = {Bloomington, IN}, title = {Zombie {Health} {Care}}, isbn = {978-0-253-01387-3}, url = {http://www.jstor.org/stable/j.ctt16gzg4q.9}, abstract = {{\textless}p{\textgreater}\&\#x201c;Wildfire,\&\#x201d; the fifth episode of AMC\&\#x2019;s{\textless}em{\textgreater}The Walking Dead{\textless}/em{\textgreater}\&\#x2019;s first season, shows a crisis many Americans are currently facing.\&\#xb9; In the aftermath of a zombie attack, the human survivors must prevent their killed loved ones from returning as zombies. One woman, Carol, refuses to let the group\&\#x2019;s men take responsibility for \&\#x201c;decraniating\&\#x201d; her prone life partner. \&\#x201c;He\&\#x2019;s my husband,\&\#x201d; she says before splattering his gray matter onto the viewing lens. The scene cuts to another woman, Andrea, cradling her dead sister and waiting for the first sign of reanimation. Over a soundtrack of sentimentalized music, Andrea mournfully says, \&\#x201c;Amy. Amy.{\textless}/p{\textgreater}}, booktitle = {The {Year}'s {Work} at the {Zombie} {Research} {Center}}, publisher = {Indiana University Press}, author = {Shapiro, Stephen}, editor = {Comentale, Edward P. and Jaffe, Aaron}, year = {2014}, pages = {193--226} } @incollection{soldat-jaffe_zombie_2014, address = {Bloomington, IN}, title = {Zombie {Linguistics}}, isbn = {978-0-253-01387-3}, url = {http://www.jstor.org/stable/j.ctt16gzg4q.15}, abstract = {{\textless}p{\textgreater}Zombies don\&\#x2019;t make good conversation partners. When Sydney and Grant, the two main characters in{\textless}em{\textgreater}Pontypool{\textless}/em{\textgreater}(2009), realize that the disease that transforms humans into zombies might be carried through language\&\#x2014;specifically, English language\&\#x2014;they look for a source. In the sudden realization that{\textless}em{\textgreater}understanding{\textless}/em{\textgreater}language is the source, Sydney asks Grant, \&\#x201c;How do you stop understanding? How do you make it strange?\&\#x201d; Such questions point to crucial issues concerning the nature of human language and the possibility of zombie language. First, they Tatjana Soldat-Jaffe encourage us to examine general definitions of language use and communication. Must language always involve{\textless}/p{\textgreater}}, booktitle = {The {Year}'s {Work} at the {Zombie} {Research} {Center}}, publisher = {Indiana University Press}, author = {Soldat-Jaffe, Tatjana}, editor = {Comentale, Edward P. and Jaffe, Aaron}, year = {2014}, pages = {361--388} } @incollection{schneider_zombie_2014, address = {Bloomington, IN}, title = {Zombie {Cocktails}}, isbn = {978-0-253-01387-3}, url = {http://www.jstor.org/stable/j.ctt16gzg4q.18}, abstract = {{\textless}p{\textgreater}When Betsy Connell, female lead in Jacques Tourneur\&\#x2019;s{\textless}em{\textgreater}I Walked with a Zombie{\textless}/em{\textgreater}(1943), confesses that is she isn\&\#x2019;t in fact familiar with zombies, her interlocutor, Dr. Maxwell, first tells her that she is dealing with \&\#x201c;a ghost, the living dead\&\#x201d; and then informs her more cheerfully that the Zombie is also a drink, at which point Betsy finds herself on more familiar territory. \&\#x201c;I tried one once,\&\#x201d; she says, \&\#x201c;but there wasn\&\#x2019;t anything dead about it.\&\#x201d; Uttered in 1943 at the height of Hollywood\&\#x2019;s tiki craze, these lines are no doubt an inside joke. By this time, actors and{\textless}/p{\textgreater}}, booktitle = {The {Year}'s {Work} at the {Zombie} {Research} {Center}}, publisher = {Indiana University Press}, author = {Schneider, Stephen}, editor = {Comentale, Edward P. and Jaffe, Aaron}, year = {2014}, pages = {437--464} } @incollection{sattar_zombie_2014, address = {Bloomington, IN}, title = {Zombie {Performance}}, isbn = {978-0-253-01387-3}, url = {http://www.jstor.org/stable/j.ctt16gzg4q.11}, abstract = {{\textless}p{\textgreater}The zombie consumes us. It occupies our minds, books, screens, and streets; devours and squanders our flesh and bodies; infects us with disease; and overwhelms our very social order. And yet we chase after zombies. In recent years we have facilitated their rise as a veritable cultural phenomenon, compelling them into our movie-theater screens in greater and faster-moving hordes than ever before, into our homes with shows like{\textless}em{\textgreater}The Walking Dead,{\textless}/em{\textgreater}and onto our college campuses with Humans vs. Zombies, a live-action game of survival. Even the Federal Emergency Management Agency (FEMA) and the Centers for Disease Control and Prevention{\textless}/p{\textgreater}}, booktitle = {The {Year}'s {Work} at the {Zombie} {Research} {Center}}, publisher = {Indiana University Press}, author = {Sattar, Atia}, editor = {Comentale, Edward P. and Jaffe, Aaron}, year = {2014}, pages = {248--275} } @incollection{ruthven_zombie_2014, address = {Bloomington, IN}, title = {Zombie {Postfeminism}}, isbn = {978-0-253-01387-3}, url = {http://www.jstor.org/stable/j.ctt16gzg4q.14}, abstract = {{\textless}p{\textgreater}While Julia Kristeva doubtless did not have in mind the undead corpse of the zombie when she wrote of the abject and how it forces death upon the living, the walking dead undeniably embody abjection. It is not strange, then, that in representations of zombies, in film, literature, television, or other media, the primary focus is on how the humans who have not been infected confront and battle those who have returned from the dead. Those who engage in zombie fighting are necessarily confronting and denying the death (among other things) that the posthuman monster represents. This analysis of Seth{\textless}/p{\textgreater}}, booktitle = {The {Year}'s {Work} at the {Zombie} {Research} {Center}}, publisher = {Indiana University Press}, author = {Ruthven, Andrea}, editor = {Comentale, Edward P. and Jaffe, Aaron}, year = {2014}, pages = {341--360} } @incollection{eburne_zombie_2014, address = {Bloomington, IN}, title = {Zombie {Arts} and {Letters}}, isbn = {978-0-253-01387-3}, url = {http://www.jstor.org/stable/j.ctt16gzg4q.16}, abstract = {{\textless}p{\textgreater}Genre fiction is project-based art. Whether cowboy Western or intergalactic sci-fi, genre writing entails a double inventiveness according to the set of directives imposed upon each story in advance. On the one hand, by definition such writing exercises a creative function following explicit conditions of constraint, whether formal, aesthetic, historical, moral, or economic. From the pulps to the remainder bin, genre fiction necessarily knows its limits; this is part of its \&\#x201c;project.\&\#x201d; On the other{\textless}/p{\textgreater}{\textless}p{\textgreater}hand, it also recognizes and formalizes these limits as constraints in the first place, a gesture as constitutive of a genre\&\#x2019;s artistic project as any{\textless}/p{\textgreater}}, booktitle = {The {Year}'s {Work} at the {Zombie} {Research} {Center}}, publisher = {Indiana University Press}, author = {Eburne, Jonathan P.}, editor = {Comentale, Edward P. and Jaffe, Aaron}, year = {2014}, pages = {389--415} } @incollection{gibson_zombie_2014, address = {Bloomington, IN}, title = {Zombie {Philosophy}}, isbn = {978-0-253-01387-3}, url = {http://www.jstor.org/stable/j.ctt16gzg4q.17}, abstract = {{\textless}p{\textgreater}Here is a list, very incomplete, of things one should keep in mind when attempting to write seriously about zombies. Zombies do not exist. Zombies are not related to werewolves or vampires.\&\#xb9; Zombies are not, literally, mindless consumers, enraged proletarians, or stupid Americans\&\#x2014;although some were perhaps once these things\&\#x2014;and there is little use in casting them, even metaphorically, as{\textless}em{\textgreater}essentially{\textless}/em{\textgreater}such, especially when attempting to offer a \&\#x201c;theory of zombies.\&\#x201d; This is because zombies do not form a natural kind, not even a{\textless}em{\textgreater}fictional{\textless}/em{\textgreater}natural kind. Wiithin the genre, zombies vary greatly in behavior, cognitive power, and athletic{\textless}/p{\textgreater}}, booktitle = {The {Year}'s {Work} at the {Zombie} {Research} {Center}}, publisher = {Indiana University Press}, author = {Gibson, John}, editor = {Comentale, Edward P. and Jaffe, Aaron}, year = {2014}, pages = {416--436} } @incollection{hassler-forest_zombie_2014, address = {Bloomington, IN}, title = {Zombie {Spaces}}, isbn = {978-0-253-01387-3}, url = {http://www.jstor.org/stable/j.ctt16gzg4q.7}, abstract = {{\textless}p{\textgreater}Over the past decade the zombie has been transformed from a movie monster that appeared primarily in American underground cinema and Italian horror films to a ubiquitous trope in popular culture. Instantly recognizable to general global audiences, yet flexible enough to serve both as a legitimate monster and as the punch line to a bad joke, the figure of the mindless undead has clearly found resonance in late capitalist culture and has been connected to a wide range of concepts and ideas. In the same way that Marx and Engels related the system of industrial capitalism to the figure of{\textless}/p{\textgreater}}, booktitle = {The {Year}'s {Work} at the {Zombie} {Research} {Center}}, publisher = {Indiana University Press}, author = {Hassler-Forest, Dan}, editor = {Comentale, Edward P. and Jaffe, Aaron}, year = {2014}, pages = {116--149} } @incollection{morton_zombie_2014, address = {Bloomington, IN}, title = {Zombie {Politics}}, isbn = {978-0-253-01387-3}, url = {http://www.jstor.org/stable/j.ctt16gzg4q.13}, abstract = {{\textless}p{\textgreater}Carl Grimes, the cowboy-hat-wearing son in{\textless}em{\textgreater}The Walking Dead,{\textless}/em{\textgreater}gives his father, Rick, a cold reminder about the world they live in: \&\#x201c;The costumes, the candy\&\#x2014;everyone walking around, acting like nothing is happening around them. They\&\#x2019;re all stupid. The roamers [zombies] don\&\#x2019;t go away because you can\&\#x2019;t see them. I hate this place, Dad. It doesn\&\#x2019;t feel real. It feels like everyone is playing pretend. . . . I don\&\#x2019;t want to get used to this. It will make us weak\&\#x201d; (Kirkman 16). This cynical political philosophy\&\#x2014;more \&\#x201c;pragmatic than argumentative\&\#x201d;\&\#x2014;marks Carl as a member of Generation Zombie{\textless}/p{\textgreater}}, booktitle = {The {Year}'s {Work} at the {Zombie} {Research} {Center}}, publisher = {Indiana University Press}, author = {Morton, Seth}, editor = {Comentale, Edward P. and Jaffe, Aaron}, year = {2014}, pages = {315--340} } @incollection{nealon_afterword:_2014, address = {Bloomington, IN}, title = {Afterword: {Zombie} {Archive}}, isbn = {978-0-253-01387-3}, url = {http://www.jstor.org/stable/j.ctt16gzg4q.19}, abstract = {{\textless}p{\textgreater}{\textless}em{\textgreater}The Year\&\#x2019;s Work at the Zombie Research Center{\textless}/em{\textgreater}both constitutes its own unique archive and contributes to the growing archive of scholarly work on what might be the central figure that traverses our present, the zombie. When taking stock of this archive, or any archive for that matter, one is inevitably forced to ask the question, Why create a research archive around this topic rather than another? Why zombies, why now?{\textless}/p{\textgreater}{\textless}p{\textgreater}There are of course myriad\&\#x2014;sometimes conflicting, always compelling\&\#x2014;answers to that question on offer in this volume, and likewise within the wider scholarly zombie archive, but almost all{\textless}/p{\textgreater}}, booktitle = {The {Year}'s {Work} at the {Zombie} {Research} {Center}}, publisher = {Indiana University Press}, author = {Nealon, Jeffrey T.}, editor = {Comentale, Edward P. and Jaffe, Aaron}, year = {2014}, pages = {465--474} } @incollection{raglin_zombie_2014, address = {Bloomington, IN}, title = {Zombie {Physiology}}, isbn = {978-0-253-01387-3}, url = {http://www.jstor.org/stable/j.ctt16gzg4q.10}, abstract = {{\textless}p{\textgreater}While it has become de rigueur to portray the zombie onslaught as a war, this analogy is in fact seriously flawed and can result in lethal outcomes for humans who hew to orthodox strategies of offensive or defensive warfare. Consider that zombie warfare is not driven by a religious motive or geopolitical objective. Beyond the common innate drive to consume human flesh, zombies exhibit no cooperative group objective. Moreover, zombie predation does not appear to be driven by any planned or organized strategies conforming to the strictures of either traditional or terrorist warfare, although as described later, sufficient densities of{\textless}/p{\textgreater}}, booktitle = {The {Year}'s {Work} at the {Zombie} {Research} {Center}}, publisher = {Indiana University Press}, author = {Raglin, Jack}, editor = {Comentale, Edward P. and Jaffe, Aaron}, year = {2014}, pages = {227--247} } @incollection{bohman_zombie_2014, address = {Bloomington, IN}, title = {Zombie {Media}}, isbn = {978-0-253-01387-3}, url = {http://www.jstor.org/stable/j.ctt16gzg4q.8}, abstract = {{\textless}p{\textgreater}Taken as a whole, George A. Romero\&\#x2019;s body of work has most often been thought to mark shifts in cultural anxieties\&\#x2014;anxieties around the Vietnam War and the civil rights era, the rise of a consumer economy, the relation of science and the military during the Cold War, the war in Iraq, and the irruptive spectacle of terrorism\&\#x2014;anxieties that his films not only embody but also critically respond to, and all of which have been well documented. Yet, by regarding these films as markers of cultural anxieties or repressions, such readings either implicitly or explicitly tend to use psychological{\textless}/p{\textgreater}}, booktitle = {The {Year}'s {Work} at the {Zombie} {Research} {Center}}, publisher = {Indiana University Press}, author = {Bohman, Erik}, editor = {Comentale, Edward P. and Jaffe, Aaron}, year = {2014}, pages = {150--192} } @book{comentale_years_2014, address = {Bloomington, IN}, title = {The {Year}'s {Work} at the {Zombie} {Research} {Center}}, isbn = {978-0-253-01387-3}, abstract = {They have stalked the horizons of our culture, wreaked havoc on moribund concepts of dead and not dead, threatened our sense of identity, and endangered our personal safety. Now zombies have emerged from the lurking shadows of society’s fringes to wander the sacred halls of the academy, feasting on tender minds and hurling rot across our intellectual landscape. It is time to unite in common cause, to shore up defenses, firm up critical and analytical resources, and fortify crumbling lines of inquiry. Responding to this call, Brain Workers from the Zombie Research Center poke and prod the rotting corpus of zombie culture trying to make sense of cult classics and the unstoppable growth of new and even more disturbing work. They exhume "zombie theory" and decaying historical documents from America, Europe, and the Caribbean in order to unearth the zombie world and arm readers with the brain tools necessary for everyday survival. Readers will see that zombie culture today "lives" in shapes as mutable as a zombie horde―and is often just as violent.}, language = {English}, publisher = {Indiana University Press}, editor = {Comentale, Edward P. and Jaffe, Aaron}, month = sep, year = {2014} } @incollection{comentale_introduction:_2014, address = {Bloomington, IN}, title = {Introduction: {The} {Zombie} {Research} {Center} {FAQ}}, isbn = {978-0-253-01387-3}, url = {http://www.jstor.org/stable/j.ctt16gzg4q.4}, abstract = {{\textless}p{\textgreater}We\&\#x2019;re sure you\&\#x2019;ve noticed that zombies are everywhere these days. Why else would you be reading this book? As it says in the stairwell: THE END IS EXTREMELY FUCKING NIGH. [\#zombies.] In the bunker, out on the rooftop, inside and out back, stalking the horizon, zombies pose significant threats to both human identity and human civilization.{\textless}em{\textgreater}Who are they? What do they want? How do they{\textless}/em{\textgreater}\&\#x201c;{\textless}em{\textgreater}think{\textless}/em{\textgreater}\&\#x201d;?{\textless}em{\textgreater}What do they mean?{\textless}/em{\textgreater}The recent explosion of zombies in film, literature, graphic novels, video games, and fan culture is inescapable. Even sociology, philosophy, and literary theory have gotten into the zombie act,{\textless}/p{\textgreater}}, booktitle = {The {Year}'s {Work} at the {Zombie} {Research} {Center}}, publisher = {Indiana University Press}, author = {Comentale, Edward P. and Jaffe, Aaron}, editor = {Comentale, Edward P. and Jaffe, Aaron}, year = {2014}, pages = {1--58} } @article{schmeink_scavenge_2016, title = {“{Scavenge}, {Slay}, {Survive}”: {The} {Zombie} {Apocalypse}, {Exploration}, and {Lived} {Experience} in \textit{{DayZ}}}, volume = {43}, issn = {0091-7729}, shorttitle = {“{Scavenge}, {Slay}, {Survive}”}, url = {http://www.jstor.org/stable/10.5621/sciefictstud.43.1.0067}, doi = {10.5621/sciefictstud.43.1.0067}, abstract = {In this article, I argue that the video game DayZ is an engaging representation of the zombie apocalypse, moreso than any cinematic or literary forms, specifically because of its status as digital medium and interactive simulation. The simulated space of the game foregoes sf-typical centering on historic narrative progression and accumulation of knowledge about the diegetic world for an active exploration of space and the accumulation of lived experience. By modeling a postapocalyptic world, the game forces players to make moral decisions regarding scarcity, survival, and social order. In adding the threat of a zombie attack, the game further emphasizes the existential nature of these decisions and foregrounds player agency as the determining factor for game experience. DayZ is noteworthy insofar as it rejects a moral baseline inherent in the diegesis; it denies players a pre-scripted narrative, instead relying on open-world mechanics that allow player interaction with little algorithmic limitation. In combination with the persistent game mechanics and the simulated hostile environment, the game becomes a lived experience of the sf trope of postapocalypse that is unlike any provided in film or literature.}, number = {1}, urldate = {2016-05-15}, journal = {Science Fiction Studies}, author = {Schmeink, Lars}, year = {2016}, pages = {67--84} } @incollection{freese_travels_2015, address = {Heidelberg}, edition = {1}, title = {Travels with {Carl}: {Apocalyptic} {Zombiescape}, {Masculinity} and {Seriality} in {Robert} {Kirkman}’s \textit{{The} {Walking} {Dead}}}, isbn = {978-3-8253-6465-6}, abstract = {The papers collected in this volume were presented at a conference on "The Journey of Life" which took place at Paderborn University in October 2013. They focus on a perennially recurring archetype of the human imagination which, for obvious reasons, is especially influential in the U.S. The articles offer exemplary insights into the manifestations and functions of the 'journey of life' concept in both American life and literature. Some contributions deal with 'real' journeys ranging from the westward travels of pioneer women physicians in the nineteenth century through Jack London's 'journeys of life' to the attempts at tinkering with the human journey of life in the age of biotechnology. Other contributions present a taxonomy of journey types in American fiction, and they analyze literary journeys from the omnipresent journeys in Thomas Pynchon's novels and the post-apocalyptic journey in Cormac McCarthy's 'The Road' through the journey plot in Robert Kirkman's serial comic 'The Walking Dead' and the various kinds of journeys in Western films to the journeys of initiation in Sherman Alexie's 'The Absolutely True Diary of a Part-Time Indian' and José Antonio Villarréal's 'Pocho'.}, language = {Englisch}, booktitle = {The \textit{{Journey} of {Life}} in {American} {Life} and {Literature}}, publisher = {Winter}, author = {Cortiel, Jeanne}, editor = {Freese, Peter}, year = {2015}, pages = {187--204} } @article{sundaram_imagining_2012, title = {Imagining {Bio}-disaster, {Reproducing} {Social} {Order} {Epidemics} in {Contemporary} {Hollywood}}, volume = {7}, issn = {0973-2586, 0973-2594}, url = {http://crc.sagepub.com/content/7/1-2/135}, doi = {10.1177/0973258613501065}, abstract = {This article studies the imagination and representation of biological disaster in contemporary popular cinema. The texts chosen are Steven Soderbergh’s 2011 film Contagion, Danny Boyle’s modern zombie-horror classic 28 Days Later (2002), Francis Lawrence’s I Am Legend (2007) and Alfonso Cuaron’s Children of Men (2006). This article is interested in the ‘sensual elaboration’, within filmic narrative, of biological disaster, and will argue that these films not only communicate with but organize their viewers’ perceptions of biological disaster. It studies the narrativizing of the onset and consequences of biological disaster, coded as an ‘invasion’ of the individual and social body in these films. It further argues that the individual and social body in these texts form the key site of negotiating anxieties surrounding their inevitable collapse in the wake of social, cultural and economic breakdown following biological disaster. The narrativizing of biological disaster in these films, this article will demonstrate, performs a crisis of reproducibility and reproductivity.}, language = {en}, number = {1-2}, urldate = {2016-05-15}, journal = {Journal of Creative Communications}, author = {Sundaram, Neeraja}, month = mar, year = {2012}, pages = {135--151} } @article{travis_were_2014, title = {We’re {All} {Infected}: {Legal} {Personhood}, {Bare} {Life} and \textit{{The} {Walking} {Dead}}}, volume = {28}, issn = {0952-8059, 1572-8722}, shorttitle = {We’re {All} {Infected}}, url = {http://link.springer.com/article/10.1007/s11196-014-9396-3}, doi = {10.1007/s11196-014-9396-3}, abstract = {This article argues that greater theoretical attention should be paid to the figure of the zombie in the fields of law, cultural studies and philosophy. Using The Walking Dead as a point of critical departure concepts of legal personhood are interrogated in relation to permanent vegetative states, bare life and the notion of the third person. Ultimately, the paper recommends a rejection of personhood; instead favouring a legal and philosophical engagement with humanity and embodiment. Personhood, it is suggested, creates a barrier in law allowing individuals in certain contexts (and in certain embodied states) to be rendered non-persons and thus outside the scope of legal rights. An approach that rejects personhood in favour of embodiment would allow individuals to enjoy their rights without being subject to such discrimination. It is also suggested that the concept of the human, itself complicated by the figure of the zombie, allows for legal engagement with a greater number of putative rights claimants including admixed embryos, cyborgs and the zombie.}, language = {en}, number = {4}, urldate = {2016-05-15}, journal = {International Journal for the Semiotics of Law - Revue internationale de Sémiotique juridique}, author = {Travis, Mitchell}, month = oct, year = {2014}, pages = {787--800} } @incollection{maberry_take_2011, address = {Dallas}, title = {Take {Me} to {Your} {Leader}: {Guiding} the {Masses} {Through} the {Apocalypse} with a {Cracked} {Moral} {Compass}}, language = {en}, booktitle = {Triumph of \textit{{The} {Walking} {Dead}}: {Robert} {Kirkman}’s {Zombie} {Epic} on {Page} and {Screen}}, publisher = {Smart Pop}, author = {Maberry, Jonathan}, editor = {Lowder, James}, year = {2011}, pages = {15--34} } @incollection{blumberg_four-color_2011, address = {Dallas}, title = {Four-{Color} {Zombies}: \textit{{The} {Walking} {Dead}} in {Comics} {History}}, language = {en}, booktitle = {Triumph of \textit{{The} {Walking} {Dead}}: {Robert} {Kirkman}’s {Zombie} {Epic} on {Page} and {Screen}}, publisher = {Smart Pop}, author = {Blumberg, Arnold T.}, editor = {Lowder, James}, year = {2011}, pages = {35--52} } @incollection{bonansinga_novelist_2011, address = {Dallas}, title = {A {Novelist} and a {Zombie} {Walk} {Into} a {Bar}: {Translating} \textit{{The} {Walking} {Dead}} to {Prose}}, language = {en}, booktitle = {Triumph of \textit{{The} {Walking} {Dead}}: {Robert} {Kirkman}’s {Zombie} {Epic} on {Page} and {Screen}}, publisher = {Smart Pop}, author = {Bonansinga, Jay}, editor = {Lowder, James}, year = {2011}, pages = {53--66} } @incollection{fischer_meaninglessness:_2011, address = {Dallas}, title = {Meaninglessness: {Cause} and {Desire} in \textit{{The} {Birds}}, \textit{{Shaun} of the {Dead}}, and \textit{{The} {Walking} {Dead}}}, language = {en}, booktitle = {Triumph of \textit{{The} {Walking} {Dead}}: {Robert} {Kirkman}’s {Zombie} {Epic} on {Page} and {Screen}}, publisher = {Smart Pop}, author = {Fischer, Craig}, editor = {Lowder, James}, year = {2011}, pages = {67--80} } @incollection{riley_zombie_2011, address = {Dallas}, title = {Zombie {People}: {The} {Complicated} {Nature} of {Personhood} in \textit{{The} {Walking} {Dead}}}, language = {en}, booktitle = {Triumph of \textit{{The} {Walking} {Dead}}: {Robert} {Kirkman}’s {Zombie} {Epic} on {Page} and {Screen}}, publisher = {Smart Pop}, author = {Riley, Brendan}, editor = {Lowder, James}, year = {2011}, pages = {81--98} } @incollection{steiger_no_2011, address = {Dallas}, title = {No {Clean} {Slate}: {Unshakable} {Race} and {Gender} {Politics} in \textit{{The} {Walking} {Dead}}}, language = {en}, booktitle = {Triumph of \textit{{The} {Walking} {Dead}}: {Robert} {Kirkman}’s {Zombie} {Epic} on {Page} and {Screen}}, publisher = {Smart Pop}, author = {Steiger, Kay}, editor = {Lowder, James}, year = {2011}, pages = {99--114} } @incollection{liaguno_happy_2011, address = {Dallas}, title = {Happy ({En}){Trails}: {Violence} and {Viscera} on \textit{{The} {Walking} {Dead}}}, language = {en}, booktitle = {Triumph of \textit{{The} {Walking} {Dead}}: {Robert} {Kirkman}’s {Zombie} {Epic} on {Page} and {Screen}}, publisher = {Smart Pop}, author = {Liaguno, Vince A.}, editor = {Lowder, James}, year = {2011}, pages = {115--126} } @incollection{vizzini_rick_2011, address = {Dallas}, title = {Rick and {Rand}: {The} {Objectivist} {Hero} in \textit{{The} {Walking} {Dead}}}, language = {en}, booktitle = {Triumph of \textit{{The} {Walking} {Dead}}: {Robert} {Kirkman}’s {Zombie} {Epic} on {Page} and {Screen}}, publisher = {Smart Pop}, author = {Vizzini, Ned}, editor = {Lowder, James}, year = {2011}, pages = {127--142} } @incollection{hite_postmodern_2011, address = {Dallas}, title = {Postmodern {Merlin}: {Edwin} {Jenner} as the {Enchanter} in the {Cave}}, language = {en}, booktitle = {Triumph of \textit{{The} {Walking} {Dead}}: {Robert} {Kirkman}’s {Zombie} {Epic} on {Page} and {Screen}}, publisher = {Smart Pop}, author = {Hite, Kenneth}, editor = {Lowder, James}, year = {2011}, pages = {143--158} } @incollection{schlozman_feel_2011, address = {Dallas}, title = {Feel {Better}?: {The} {Uncaring} {Science} of \textit{{The} {Walking} {Dead}}}, language = {en}, booktitle = {Triumph of \textit{{The} {Walking} {Dead}}: {Robert} {Kirkman}’s {Zombie} {Epic} on {Page} and {Screen}}, publisher = {Smart Pop}, author = {Schlozman, Steven}, editor = {Lowder, James}, year = {2011}, pages = {159--172} } @incollection{morton_walking_2011, address = {Dallas}, title = {\textit{{The} {Walking} {Dead}} and \textit{{Dance} of {Death}}: {Or}, {Why} the {Zombies} {Are} {Always} on the {Other} {Side} of the {Fence}}, language = {en}, booktitle = {Triumph of \textit{{The} {Walking} {Dead}}: {Robert} {Kirkman}’s {Zombie} {Epic} on {Page} and {Screen}}, publisher = {Smart Pop}, author = {Morton, Lisa}, editor = {Lowder, James}, year = {2011}, pages = {173--184} } @incollection{hopkins_hero_2011, address = {Dallas}, title = {The {Hero} {Wears} the {Hat}: {Carl} as 1.5-{Generation} {Immigrant} and {True} {Protagonist}}, language = {en}, booktitle = {Triumph of \textit{{The} {Walking} {Dead}}: {Robert} {Kirkman}’s {Zombie} {Epic} on {Page} and {Screen}}, publisher = {Smart Pop}, author = {Hopkins, David}, editor = {Lowder, James}, year = {2011}, pages = {201--216} } @incollection{paffenroth_for_2011, address = {Dallas}, title = {"{For} {Love} {Is} {Strong} as {Death}": {Redeeming} {Values} in \textit{{The} {Walking} {Dead}}}, language = {en}, booktitle = {Triumph of \textit{{The} {Walking} {Dead}}: {Robert} {Kirkman}’s {Zombie} {Epic} on {Page} and {Screen}}, publisher = {Smart Pop}, author = {Paffenroth, Kim}, editor = {Lowder, James}, year = {2011}, pages = {217--230} } @article{horne_i_1992, title = {I {Shopped} with a {Zombie}}, volume = {34}, issn = {1467-8705}, url = {http://onlinelibrary.wiley.com/doi/10.1111/j.1467-8705.1992.tb00454.x/abstract}, doi = {10.1111/j.1467-8705.1992.tb00454.x}, language = {en}, number = {4}, urldate = {2016-05-15}, journal = {Critical Quarterly}, author = {Horne, Philip}, month = dec, year = {1992}, pages = {97--110} } @incollection{grant_taking_2015, address = {Austin, TX}, edition = {2nd}, title = {Taking {Back} the \textit{{Night} of the {Living} {Dead}}: {George} {Romero}, {Feminism}, and the {Horror} {Film}}, isbn = {978-0-292-77245-8}, abstract = {\"The Dread of Difference is a classic. Few film studies texts have been so widely read and so influential. It\&\#39;s rarely on the shelf at my university library, so continuously does it circulate. Now this new edition expands the already comprehensive coverage of gender in the horror film with new essays on recent developments such as the Hostel series and torture porn. Informative and enlightening, this updated classic is an essential reference for fans and students of horror movies.\"—Stephen Prince, editor of The Horror Film and author of Digital Visual Effects in Cinema: The Seduction of Reality\"An impressive array of distinguished scholars . . . gazes deeply into the darkness and then forms a Dionysian chorus reaffirming that sexuality and the monstrous are indeed mated in many horror films.\"—Choice\"An extremely useful introduction to recent thinking about gender issues within this genre.\"—Film Theory}, language = {en}, booktitle = {The {Dread} of {Difference}: {Gender} and the {Horror} {Film}}, publisher = {University of Texas Press}, author = {Grant, Barry Keith}, editor = {Grant, Barry Keith}, year = {2015}, pages = {228--240} } @incollection{sublette_last_2016, address = {Fayetteville, AR}, title = {The {Last} {Twinkie} in the {Universe}: {Culinary} {Hedonism} and {Nostalgia} in {Zombie} {Films}}, isbn = {978-1-61075-577-1}, abstract = {Devouring Cultures brings together contributors from a wide range of disciplines including media studies, rhetoric, gender studies, philosophy, anthropology, literary criticism, film criticism, race theory, history, and linguistics to examine the ways food signifies both culture and identity. These scholars look for answers to intriguing questions: What does our choice of dining house say about our social class? Can restaurants teach us about a culture? How does food operate in Downton Abbey? How does food consumption in zombie apocalypse films and apocalyptic literature relate to contemporary food-chain crises and food nostalgia? What aspects of racial conflict, assimilation, and empowerment may be represented in restaurant culture and food choice? Restaurants, from their historical development to their modern role as surrogate kitchen, are studied as markers of gender, race, and social class, and also as forums for the exhibition of tensions or spaces where culture is learned through the language of food. Food, as it is portrayed in literature, movies, and television, is illuminated as a platform for cultural assimilation, a way for the oppressed to find agency, or even a marker for the end of a civilization. The essays in Devouring Cultures show how our choices about what we eat, where we eat, and with whom we eat are linked to identity and meaning and how the seemingly simple act of consumption has implications that extend far beyond sustenance.}, language = {en}, booktitle = {Devouring {Cultures}: {Perspectives} on {Food}, {Power}, and {Identity} from the {Zombie} {Apocalypse} to \textit{{Downton} {Abbey}}}, publisher = {University of Arkansas Press}, author = {Sublette, Cammie M.}, editor = {Sublette, Cammie M. and Martin, Jennifer}, year = {2016}, pages = {165--180} } @incollection{sublette_consuming_2016, address = {Fayetteville, AR}, title = {Consuming {American} {Consumerism} in \textit{{The} {Road}}}, isbn = {978-1-61075-577-1}, abstract = {Devouring Cultures brings together contributors from a wide range of disciplines including media studies, rhetoric, gender studies, philosophy, anthropology, literary criticism, film criticism, race theory, history, and linguistics to examine the ways food signifies both culture and identity. These scholars look for answers to intriguing questions: What does our choice of dining house say about our social class? Can restaurants teach us about a culture? How does food operate in Downton Abbey? How does food consumption in zombie apocalypse films and apocalyptic literature relate to contemporary food-chain crises and food nostalgia? What aspects of racial conflict, assimilation, and empowerment may be represented in restaurant culture and food choice? Restaurants, from their historical development to their modern role as surrogate kitchen, are studied as markers of gender, race, and social class, and also as forums for the exhibition of tensions or spaces where culture is learned through the language of food. Food, as it is portrayed in literature, movies, and television, is illuminated as a platform for cultural assimilation, a way for the oppressed to find agency, or even a marker for the end of a civilization. The essays in Devouring Cultures show how our choices about what we eat, where we eat, and with whom we eat are linked to identity and meaning and how the seemingly simple act of consumption has implications that extend far beyond sustenance.}, language = {en}, booktitle = {Devouring {Cultures}: {Perspectives} on {Food}, {Power}, and {Identity} from the {Zombie} {Apocalypse} to \textit{{Downton} {Abbey}}}, publisher = {University of Arkansas Press}, author = {Martin, Jennifer}, editor = {Sublette, Cammie M. and Martin, Jennifer}, year = {2016}, pages = {67--84} } @book{sublette_devouring_2016, address = {Fayetteville, AR}, title = {Devouring {Cultures}: {Perspectives} on {Food}, {Power}, and {Identity} from the {Zombie} {Apocalypse} to \textit{{Downton} {Abbey}}}, isbn = {978-1-61075-577-1}, shorttitle = {Devouring {Cultures}}, abstract = {Devouring Cultures brings together contributors from a wide range of disciplines including media studies, rhetoric, gender studies, philosophy, anthropology, literary criticism, film criticism, race theory, history, and linguistics to examine the ways food signifies both culture and identity. These scholars look for answers to intriguing questions: What does our choice of dining house say about our social class? Can restaurants teach us about a culture? How does food operate in Downton Abbey? How does food consumption in zombie apocalypse films and apocalyptic literature relate to contemporary food-chain crises and food nostalgia? What aspects of racial conflict, assimilation, and empowerment may be represented in restaurant culture and food choice? Restaurants, from their historical development to their modern role as surrogate kitchen, are studied as markers of gender, race, and social class, and also as forums for the exhibition of tensions or spaces where culture is learned through the language of food. Food, as it is portrayed in literature, movies, and television, is illuminated as a platform for cultural assimilation, a way for the oppressed to find agency, or even a marker for the end of a civilization. The essays in Devouring Cultures show how our choices about what we eat, where we eat, and with whom we eat are linked to identity and meaning and how the seemingly simple act of consumption has implications that extend far beyond sustenance.}, language = {en}, publisher = {University of Arkansas Press}, editor = {Sublette, Cammie M. and Martin, Jennifer}, year = {2016} } @incollection{paravisini-gebert_women_1997, address = {New Brunswick, NJ}, title = {Women {Possessed}: {Eroticism} and {Exoticism} in the {Representation} of {Woman} as {Zombie}}, booktitle = {Sacred {Possessions}: {Vodou}, {Santeria}, {Obeah}, and the {Caribbean}}, publisher = {Rutgers University Press}, author = {Paravisini-Gebert, Lizabeth}, editor = {Fernández Olmos, Margarite and Paravisini-Gebert, Lizabeth}, year = {1997}, pages = {37--58} } @book{brodman_supernatural_2016, address = {Lanham, MD}, title = {The {Supernatural} {Revamped}: {From} {Timeworn} {Legends} to {Twenty}-{First}-{Century} {Chic}}, shorttitle = {The {Supernatural} {Revamped}}, abstract = {This book is the logical continuation of a series of collected essays examining the origins and evolution of myths and legends of the supernatural in Western and non-Western tradition and popular culture. The first two volumes of the series, The Universal Vampire: Origins and Evolution of a Legend (Fairleigh Dickinson University Press, 2013) and Images of the Modern Vampire: The Hip and the Atavistic. (Fairleigh Dickinson University Press, 2013) focused on the vampire legend. The essays in this collection expand that scope to include a multicultural and multigeneric discussion of a pantheon of supernatural creatures who interact and cross species-specific boundaries with ease. Angels and demons are discussed from the perspective of supernatural allegory, angelic ethics and supernatural heredity and genetics. Fairies, sorcerers, witches and werewolves are viewed from the perspectives of popular nightmare tales, depictions of race and ethnicity, popular public discourse and cinematic imagery. Discussions of the “undead and still dead” include images of death messengers and draugar, zombies and vampires in literature, popular media and Japanese anime.}, language = {English}, publisher = {Fairleigh Dickinson University Press}, editor = {Brodman, Barbara and Doan, James E.}, month = apr, year = {2016}, keywords = {General} } @incollection{brodman_vampires_2016, address = {Lanham, MD}, title = {From {Vampires} to {Zombies}: {The} {Revisionist} {Recreation} of \textit{{I} {Am} {Legend}}}, abstract = {This book is the logical continuation of a series of collected essays examining the origins and evolution of myths and legends of the supernatural in Western and non-Western tradition and popular culture. The first two volumes of the series, The Universal Vampire: Origins and Evolution of a Legend (Fairleigh Dickinson University Press, 2013) and Images of the Modern Vampire: The Hip and the Atavistic. (Fairleigh Dickinson University Press, 2013) focused on the vampire legend. The essays in this collection expand that scope to include a multicultural and multigeneric discussion of a pantheon of supernatural creatures who interact and cross species-specific boundaries with ease. Angels and demons are discussed from the perspective of supernatural allegory, angelic ethics and supernatural heredity and genetics. Fairies, sorcerers, witches and werewolves are viewed from the perspectives of popular nightmare tales, depictions of race and ethnicity, popular public discourse and cinematic imagery. Discussions of the “undead and still dead” include images of death messengers and draugar, zombies and vampires in literature, popular media and Japanese anime.}, language = {English}, booktitle = {The {Supernatural} {Revamped}: {From} {Timeworn} {Legends} to {Twenty}-{First}-{Century} {Chic}}, publisher = {Fairleigh Dickinson University Press}, author = {Birch, Jessica E.}, editor = {Brodman, Barbara and Doan, James E.}, month = apr, year = {2016}, pages = {161--176} } @incollection{brodman_dying_2016, address = {Lanham, MD}, title = {Dying to {Love} {You}: {The} {Evolution} of the {Romantic} {Zombie}}, abstract = {This book is the logical continuation of a series of collected essays examining the origins and evolution of myths and legends of the supernatural in Western and non-Western tradition and popular culture. The first two volumes of the series, The Universal Vampire: Origins and Evolution of a Legend (Fairleigh Dickinson University Press, 2013) and Images of the Modern Vampire: The Hip and the Atavistic. (Fairleigh Dickinson University Press, 2013) focused on the vampire legend. The essays in this collection expand that scope to include a multicultural and multigeneric discussion of a pantheon of supernatural creatures who interact and cross species-specific boundaries with ease. Angels and demons are discussed from the perspective of supernatural allegory, angelic ethics and supernatural heredity and genetics. Fairies, sorcerers, witches and werewolves are viewed from the perspectives of popular nightmare tales, depictions of race and ethnicity, popular public discourse and cinematic imagery. Discussions of the “undead and still dead” include images of death messengers and draugar, zombies and vampires in literature, popular media and Japanese anime.}, language = {English}, booktitle = {The {Supernatural} {Revamped}: {From} {Timeworn} {Legends} to {Twenty}-{First}-{Century} {Chic}}, publisher = {Fairleigh Dickinson University Press}, author = {Bacon, Simon}, editor = {Brodman, Barbara and Doan, James E.}, month = apr, year = {2016}, keywords = {Romance}, pages = {177--190} } @incollection{brodman_undead_2016, address = {Lanham, MD}, title = {Undead {Yakuza}: {The} {Japanese} {Zombie} {Movie}, {Cultural} {Resonance}, and {Generic} {Conventions}}, abstract = {This book is the logical continuation of a series of collected essays examining the origins and evolution of myths and legends of the supernatural in Western and non-Western tradition and popular culture. The first two volumes of the series, The Universal Vampire: Origins and Evolution of a Legend (Fairleigh Dickinson University Press, 2013) and Images of the Modern Vampire: The Hip and the Atavistic. (Fairleigh Dickinson University Press, 2013) focused on the vampire legend. The essays in this collection expand that scope to include a multicultural and multigeneric discussion of a pantheon of supernatural creatures who interact and cross species-specific boundaries with ease. Angels and demons are discussed from the perspective of supernatural allegory, angelic ethics and supernatural heredity and genetics. Fairies, sorcerers, witches and werewolves are viewed from the perspectives of popular nightmare tales, depictions of race and ethnicity, popular public discourse and cinematic imagery. Discussions of the “undead and still dead” include images of death messengers and draugar, zombies and vampires in literature, popular media and Japanese anime.}, language = {English}, booktitle = {The {Supernatural} {Revamped}: {From} {Timeworn} {Legends} to {Twenty}-{First}-{Century} {Chic}}, publisher = {Fairleigh Dickinson University Press}, author = {Murphy, Kayleigh and Ryan, Mark David}, editor = {Brodman, Barbara and Doan, James E.}, month = apr, year = {2016}, pages = {191--206} } @incollection{brodman_look_2016, address = {Lanham, MD}, title = {“{Look} at the {Flowers}”: {Female} {Evolution} in the {Face} of the {Zombie} {Hordes} of \textit{{The} {Walking} {Dead}}}, abstract = {This book is the logical continuation of a series of collected essays examining the origins and evolution of myths and legends of the supernatural in Western and non-Western tradition and popular culture. The first two volumes of the series, The Universal Vampire: Origins and Evolution of a Legend (Fairleigh Dickinson University Press, 2013) and Images of the Modern Vampire: The Hip and the Atavistic. (Fairleigh Dickinson University Press, 2013) focused on the vampire legend. The essays in this collection expand that scope to include a multicultural and multigeneric discussion of a pantheon of supernatural creatures who interact and cross species-specific boundaries with ease. Angels and demons are discussed from the perspective of supernatural allegory, angelic ethics and supernatural heredity and genetics. Fairies, sorcerers, witches and werewolves are viewed from the perspectives of popular nightmare tales, depictions of race and ethnicity, popular public discourse and cinematic imagery. Discussions of the “undead and still dead” include images of death messengers and draugar, zombies and vampires in literature, popular media and Japanese anime.}, language = {English}, booktitle = {The {Supernatural} {Revamped}: {From} {Timeworn} {Legends} to {Twenty}-{First}-{Century} {Chic}}, publisher = {Fairleigh Dickinson University Press}, author = {Vinney, Cynthia and Wiley-Rapoport, Caryn}, editor = {Brodman, Barbara and Doan, James E.}, month = apr, year = {2016}, pages = {207--218} } @incollection{brodman_white_2016, address = {Lanham, MD}, title = {From {White} {Zombies} to {Night} {Zombies} and {Beyond}: {The} {Evolution} of the {Zombie} in {Western} {Popular} {Culture}}, abstract = {This book is the logical continuation of a series of collected essays examining the origins and evolution of myths and legends of the supernatural in Western and non-Western tradition and popular culture. The first two volumes of the series, The Universal Vampire: Origins and Evolution of a Legend (Fairleigh Dickinson University Press, 2013) and Images of the Modern Vampire: The Hip and the Atavistic. (Fairleigh Dickinson University Press, 2013) focused on the vampire legend. The essays in this collection expand that scope to include a multicultural and multigeneric discussion of a pantheon of supernatural creatures who interact and cross species-specific boundaries with ease. Angels and demons are discussed from the perspective of supernatural allegory, angelic ethics and supernatural heredity and genetics. Fairies, sorcerers, witches and werewolves are viewed from the perspectives of popular nightmare tales, depictions of race and ethnicity, popular public discourse and cinematic imagery. Discussions of the “undead and still dead” include images of death messengers and draugar, zombies and vampires in literature, popular media and Japanese anime.}, language = {English}, booktitle = {The {Supernatural} {Revamped}: {From} {Timeworn} {Legends} to {Twenty}-{First}-{Century} {Chic}}, publisher = {Fairleigh Dickinson University Press}, author = {Platts, Todd K.}, editor = {Brodman, Barbara and Doan, James E.}, month = apr, year = {2016}, pages = {219--236} } @article{keetley_vegetative_2015, title = {The ‘{Vegetative} {Part}’: {Organic} and {Plant} {Life} in \textit{{The} {Walking} {Dead}}}, volume = {3}, shorttitle = {The ‘vegetative part’}, doi = {10.1386/jptv.3.1.37_1}, abstract = {The ‘zombie gaze’ of AMC’s The Walking Dead (2010–) signals and elicits the inexorable presence of the ‘vegetative part’ in the human – the uncontrolled organic life that unsettles the very notion of the ‘person’ as well as those political systems founded upon it. Drawing on Roberto Esposito’s Third Person (2012) and late eighteenth-century physiologist Xavier Bichat, both of whom argue that humans have a ‘double life’ – our voluntary will inextricably embedded in an involuntary ‘vegetative part’ – I argue that the characters of Shane Walsh and Merle Dixon exemplify the ‘organic’ life, the automaticity of the biological. But while Esposito and Bichat use ‘vegetative’ metaphorically, in Season 4, The Walking Dead begins to explore the more literal ‘vegetal life’ of and surrounding the human, suggesting humans’ proximity not just to the ‘guts’ that mark the presence of the organic but also to plants that signal the ‘vegetative part’. The series thus asks what it might mean, in the words of philosopher Michael Marder, to think of ‘the constitutive vegetal otherness in ourselves’.}, number = {1}, journal = {The Journal of Popular Television}, author = {Keetley, Dawn}, month = apr, year = {2015}, pages = {37--55} } @article{sugg_walking_2015, title = {\textit{{The} {Walking} {Dead}}: {Late} {Liberalism} and {Masculine} {Subjection} in {Apocalypse} {Fictions}}, volume = {49}, issn = {0021-8758, 1469-5154}, shorttitle = {The {Walking} {Dead}}, url = {http://www.journals.cambridge.org/abstract_S0021875815001723}, doi = {10.1017/S0021875815001723}, language = {en}, number = {4}, urldate = {2016-05-15}, journal = {Journal of American Studies}, author = {Sugg, Katherine}, month = nov, year = {2015}, pages = {793--811} } @incollection{hillman_posthuman_2015, address = {Cambridge}, title = {Posthuman {Bodies}}, isbn = {978-1-107-25666-8}, url = {http://universitypublishingonline.org/ref/id/companions/CCO9781107256668A024}, urldate = {2016-05-15}, booktitle = {The {Cambridge} {Companion} to {The} {Body} in {Literature}}, publisher = {Cambridge University Press}, author = {Sheehan, Paul}, editor = {Hillman, David and Maude, Ulrika}, year = {2015}, pages = {245--260} } @incollection{hogle_cinema_2014, address = {Cambridge}, title = {Cinema of the {Gothic} {Extreme}}, isbn = {978-1-139-15175-7}, url = {http://universitypublishingonline.org/ref/id/companions/CCO9781139151757A016}, urldate = {2016-05-15}, booktitle = {The {Cambridge} {Companion} to the {Modern} {Gothic}}, publisher = {Cambridge University Press}, author = {Bronfen, Elisabeth}, editor = {Hogle, Jerrold E.}, year = {2014}, pages = {107--122} } @incollection{hogle_teen_2014, address = {Cambridge}, title = {Teen {Gothic}}, isbn = {978-1-139-15175-7}, url = {http://universitypublishingonline.org/ref/id/companions/CCO9781139151757A014}, urldate = {2016-05-15}, booktitle = {The {Cambridge} {Companion} to the {Modern} {Gothic}}, publisher = {Cambridge University Press}, author = {Byron, Glennis and Deans, Sharon}, editor = {Hogle, Jerrold E.}, year = {2014}, pages = {87--104} } @incollection{hogle_modernist_2014, address = {Cambridge}, title = {Modernist {Gothic}}, isbn = {978-1-139-15175-7}, url = {http://universitypublishingonline.org/ref/id/companions/CCO9781139151757A009}, urldate = {2016-05-15}, booktitle = {The {Cambridge} {Companion} to the {Modern} {Gothic}}, publisher = {Cambridge University Press}, author = {Riquelme, John Paul}, editor = {Hogle, Jerrold E.}, year = {2014}, pages = {20--36} } @book{hogle_cambridge_2014, address = {Cambridge}, title = {The {Cambridge} {Companion} to the {Modern} {Gothic}}, isbn = {978-1-139-15175-7}, url = {http://universitypublishingonline.org/ref/id/companions/CCO9781139151757}, urldate = {2016-05-15}, publisher = {Cambridge University Press}, editor = {Hogle, Jerrold E.}, year = {2014} } @article{payne_laughing_2016, title = {Laughing off a {Zombie} {Apocalypse}: {The} {Value} of {Comedic} and {Satirical} {Narratives}}, issn = {1528-3577, 1528-3585}, shorttitle = {Laughing off a {Zombie} {Apocalypse}}, url = {http://isp.oxfordjournals.org/lookup/doi/10.1093/isp/ekv026}, doi = {10.1093/isp/ekv026}, language = {en}, urldate = {2016-05-15}, journal = {International Studies Perspectives}, author = {Payne, Rodger A.}, month = feb, year = {2016}, pages = {1--14} } @article{hurley_history_2015, title = {History {Is} {What} {Bites}: {Zombies}, {Race}, and the {Limits} of {Biopower} in {Colson} {Whitehead}’s \textit{{Zone} {One}}}, volume = {56}, issn = {0014-5483, 2047-7708}, shorttitle = {History {Is} {What} {Bites}}, url = {http://online.liverpooluniversitypress.co.uk/doi/10.3828/extr.2015.17}, doi = {10.3828/extr.2015.17}, language = {en}, number = {3}, urldate = {2016-05-15}, journal = {Extrapolation}, author = {Hurley, Jessica}, month = jan, year = {2015}, pages = {311--333} } @article{gorgen_im_2015, title = {Im {Land} der lebenden {Toten} – {Zur} {Reflektion} von medizinischen {Todeskriterien} in \textit{{The} {Walking} {Dead}}}, volume = {27}, issn = {0935-7335, 1437-1618}, url = {http://link.springer.com/10.1007/s00481-014-0333-5}, doi = {10.1007/s00481-014-0333-5}, language = {de}, number = {1}, urldate = {2016-05-15}, journal = {Ethik in der Medizin}, author = {Görgen, Arno and Inderst, Rudolf T.}, month = mar, year = {2015}, pages = {35--45} } @incollection{wood_serial_2014, address = {Amherst, New York}, title = {Serial {Death} and the {Zombie}: {The} {Networked} {Necronomics} of \textit{{Left} 4 {Dead}}}, isbn = {978-1-60497-880-3}, booktitle = {Unnatural {Reproductions} and {Monstrosity}: {The} {Birth} of the {Monster} in {Literature}, {Film}, and {Media}}, publisher = {Cambria Press}, author = {Boluk, Stephanie}, editor = {Wood, Andrea and Schillace, Brandy}, year = {2014}, pages = {159--187} } @book{wood_unnatural_2014, address = {Amherst, New York}, title = {Unnatural {Reproductions} and {Monstrosity}: {The} {Birth} of the {Monster} in {Literature}, {Film}, and {Media}}, isbn = {978-1-60497-880-3}, shorttitle = {Unnatural reproductions and monstrosity}, publisher = {Cambria Press}, editor = {Wood, Andrea and Schillace, Brandy}, year = {2014} } @article{stommel_loveliness_2014, title = {The {Loveliness} of {Decay}: {Rotting} {Flesh}, {Literary} {Matter}, and {Dead} {Media}}, volume = {25}, language = {en}, number = {2/3}, journal = {Journal of the Fantastic in the Arts}, author = {Stommel, Jesse}, year = {2014}, pages = {332--336} } @incollection{wood_monsters_2014, address = {Amherst, New York}, title = {Monsters that {Matter}: {The} {Monstrous} {Birth} and {Other} {Things} that {Rise} in the {Contemporary} {Zombie} {Film}}, isbn = {978-1-60497-880-3}, booktitle = {Unnatural {Reproductions} and {Monstrosity}: {The} {Birth} of the {Monster} in {Literature}, {Film}, and {Media}}, publisher = {Cambria Press}, author = {Stommel, Jesse}, editor = {Wood, Andrea and Schillace, Brandy}, year = {2014}, pages = {89--110} } @incollection{wood_failed_2014, address = {Amherst, New York}, title = {Failed {Futurity}: {Reproductive} {Anxieties}, {Undead} {Children}, and {Queering} {Survival} in {Apocalyptic} {Zombie} {Films}}, isbn = {978-1-60497-880-3}, booktitle = {Unnatural {Reproductions} and {Monstrosity}: {The} {Birth} of the {Monster} in {Literature}, {Film}, and {Media}}, publisher = {Cambria Press}, author = {Wood, Andrea}, editor = {Wood, Andrea and Schillace, Brandy}, year = {2014}, pages = {357--374} } @incollection{farghaly_undead_2015, address = {Newcastle upon Tyne}, title = {Undead {Yes}, {Unperson} {No}: {Vampires}, {Werewolves}, {Zombies} and {Other} ‘{Differently} {Alive}’ {Characters} in {Terry} {Pratchett}’s \textit{{Discworld}} {Series}}, isbn = {978-1-4438-7750-3}, language = {eng}, booktitle = {Beyond the {Night}: {Creatures} of {Life}, {Death} and the in-{Between}}, publisher = {Cambridge Scholars}, author = {Kress, Martina}, editor = {Farghaly, Nadine}, year = {2015}, pages = {202--223} } @incollection{farghaly_bad_2015, address = {Newcastle upon Tyne}, title = {Bad {Language}: {The} {Monstrous} {Manifestations} of the {Word} {Made} {Flesh} in \textit{{Pontypool}} (2008) by {Bruce} {McDonald}}, isbn = {978-1-4438-7750-3}, language = {eng}, booktitle = {Beyond the {Night}: {Creatures} of {Life}, {Death} and the in-{Between}}, publisher = {Cambridge Scholars}, author = {Bacon, Simon}, editor = {Farghaly, Nadine}, year = {2015}, pages = {43--64} } @book{farghaly_beyond_2015, address = {Newcastle upon Tyne}, title = {Beyond the {Night}: {Creatures} of {Life}, {Death} and the in-{Between}}, isbn = {978-1-4438-7750-3}, shorttitle = {Beyond the night}, language = {eng}, publisher = {Cambridge Scholars}, editor = {Farghaly, Nadine}, year = {2015} } @article{morrell_zombies_2015, title = {Zombies, {Robots}, {Race}, and {Modern} {Labour}}, volume = {2}, copyright = {Authors who publish with this journal agree to the following terms: Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a  Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See  The Effect of Open Access ).}, issn = {2202-9885}, url = {http://affirmations.arts.unsw.edu.au/index.php?journal=aom&page=article&op=view&path%5B%5D=77}, abstract = {Zombies, Robots, Race, and Modern Labour}, language = {en}, number = {2}, urldate = {2016-05-15}, journal = {Affirmations: of the modern}, author = {Morrell, Sascha}, month = sep, year = {2015}, pages = {101--134} } @incollection{frohlich_zombification_2016, address = {Heidelberg}, series = {Beiträge zur neueren {Literaturgeschichte}}, title = {The {Zombification} of {Violence}: {René} {Girard} and \textit{28 {Days} {Later}}}, isbn = {978-3-8253-6521-9}, number = {Band 345}, booktitle = {Mythos und {Film}: {Mediale} {Adaption} und {Wechselwirkung}}, publisher = {Universitätsverlag Winter}, author = {Archbold, Jason}, editor = {Fröhlich, Vincent and Simonis, Annette}, year = {2016}, pages = {327ff.} } @article{roche_thats_2011, title = {“{That}'s {Real}! {That}'s {What} {You} {Want}!“: {Producing} {Fear} in {George} {A}. {Romero}'s \textit{{Dawn} of the {Dead}} (1978) vs {Zack} {Snyder}'s remake (2004)}, volume = {2}, issn = {20403275}, shorttitle = {“{That}'s {Real}! {That}'s {What} {You} {Want}!“}, url = {http://www.ingentaconnect.com/content/intellect/host/2011/00000002/00000001/art00006}, doi = {10.1386/host.2.1.75_1}, number = {1}, urldate = {2016-05-15}, journal = {Horror Studies}, author = {Roche, David}, year = {2011}, pages = {75--87} } @incollection{thomas_tradition_2015, address = {Salt Lake City}, title = {Tradition and the {International} {Zombie} {Film}: {The} {Movies}}, isbn = {978-1-60781-449-8}, abstract = {Just exactly where do we find the supernatural in the contemporary world? It’s both pervasive—everywhere—and specific—a particular somewhere. Otherworldly traditions and stories still spread through oral narration. They pervade mass media and the digital world and often form the stuff of hypermodern folklore{\textless}m{\textgreater}the stew of folk, popular, consumer, and digital culture that constitutes much of contemporary life. People also imbue specific places—from the local haunted house or cemetery to whole towns or cities—with supernatural manifestations or significance.  Putting the Supernatural in Its Place explores zombies, vampires, witches, demented nuns, mediums, and ghosts in their natural (and unnatural) habitats while making sense of the current ubiquity of the supernatural on the Internet, in the movies, in tourism, and in places like New Orleans. This unique study of how we locate the supernatural sheds light on why certain sites and their stories captivate us and shows how pondering the supernatural can bring a better understanding of the places we create and inhabit. Each chapter is authored by a noted folklorist who examines the supernatural as it appears “in place.” Among the locales are Salem, Massachusetts; Lily Dale, New York; and Internet fan sites for the Twilight movies and the TV series Buffy the Vampire Slayer. Supernatural places have the potential to alter perceptions of reality—sometimes enchanting, sometimes terrifying, and sometimes even schooling those who experience them. Ultimately, the authors demonstrate that, culturally speaking, the supernatural’s place is important and not trivial.}, language = {English}, booktitle = {Putting the {Supernatural} in {Its} {Place}: {Folklore}, the {Hypermodern}, and the {Ethereal}}, publisher = {University of Utah Press}, author = {Koven, Mikel J.}, editor = {Thomas, Jeannie Banks}, month = sep, year = {2015}, pages = {90--125} } @incollection{bishop_transformative_2015, title = {Transformative {Technology} and {Posthuman} {Futurity}: {The} {Psychosocial} {Cartographies} of {Zombie} {Narratives}}, isbn = {978-1-84888-352-9}, language = {English}, booktitle = {Imagining the {End}: {Interdisciplinary} {Perspectives} on the {Apocalypse}}, publisher = {Inter-Disciplinary Press}, author = {Strong, Jeremy R.}, editor = {Bishop, Thomas E. and Strong, Jeremy R.}, year = {2015}, pages = {209--236} } @incollection{bishop_reading_2015, title = {Reading, and {Surviving}, the {Zombie} {Apocalypse}}, isbn = {978-1-84888-352-9}, language = {English}, booktitle = {Imagining the {End}: {Interdisciplinary} {Perspectives} on the {Apocalypse}}, publisher = {Inter-Disciplinary Press}, author = {Gardner, Kelly}, editor = {Bishop, Thomas E. and Strong, Jeremy R.}, year = {2015}, pages = {?--208} } @book{edwards_technologies_2015, address = {New York; London}, title = {Technologies of the {Gothic} in {Literature} and {Culture}: {Technogothics}}, isbn = {978-1-317-63286-3}, shorttitle = {Technologies of the {Gothic} in {Literature} and {Culture}}, abstract = {This volume, a collection with contributions from some of the major scholars of the Gothic in literature and culture, reflects on how recent Gothic studies have foregrounded a plethora of technologies associated with Gothic literary and cultural production. The engaging essays look into the links between technologies and the proliferation of the Gothic seen in an excess of Gothic texts and tropes: Frankensteinesque experiments, the manufacture of synthetic (true?) blood, Moreauesque hybrids, the power of the Borg, Dr Jekyll’s chemical experimentations, the machinery of Steampunk, or the corporeal modifications of Edward Scissorhands. Further, they explore how techno-science has contributed to the proliferation of the Gothic: Gothic in social media, digital technologies, the on-line gaming and virtual Goth/ic communities, the special effects of Gothic-horror cinema. Contributors address how Gothic technologies have, in a general sense, produced and perpetuated ideologies and influenced the politics of cultural practice, asking significant questions: How has the technology of the Gothic contributed to the writing of self and other? How have Gothic technologies been gendered, sexualized, encrypted, coded or de-coded? How has the Gothic manifested itself in new technologies across diverse geographical locations? This volume explores how Gothic technologies textualize identities and construct communities within a complex network of power relations in local, national, transnational, and global contexts. It will be of interest to scholars of the literary Gothic, extending beyond to include fascinating interventions into the areas of cultural studies, popular culture, science fiction, film, and TV.}, language = {en}, publisher = {Routledge}, editor = {Edwards, Justin D.}, month = feb, year = {2015} } @incollection{edwards_braaiinnsss!:_2015, address = {New York; London}, title = {Braaiinnsss!: {Zombie}-{Technology}, {Play} and {Sound}}, isbn = {978-1-317-63286-3}, abstract = {This volume, a collection with contributions from some of the major scholars of the Gothic in literature and culture, reflects on how recent Gothic studies have foregrounded a plethora of technologies associated with Gothic literary and cultural production. The engaging essays look into the links between technologies and the proliferation of the Gothic seen in an excess of Gothic texts and tropes: Frankensteinesque experiments, the manufacture of synthetic (true?) blood, Moreauesque hybrids, the power of the Borg, Dr Jekyll’s chemical experimentations, the machinery of Steampunk, or the corporeal modifications of Edward Scissorhands. Further, they explore how techno-science has contributed to the proliferation of the Gothic: Gothic in social media, digital technologies, the on-line gaming and virtual Goth/ic communities, the special effects of Gothic-horror cinema. Contributors address how Gothic technologies have, in a general sense, produced and perpetuated ideologies and influenced the politics of cultural practice, asking significant questions: How has the technology of the Gothic contributed to the writing of self and other? How have Gothic technologies been gendered, sexualized, encrypted, coded or de-coded? How has the Gothic manifested itself in new technologies across diverse geographical locations? This volume explores how Gothic technologies textualize identities and construct communities within a complex network of power relations in local, national, transnational, and global contexts. It will be of interest to scholars of the literary Gothic, extending beyond to include fascinating interventions into the areas of cultural studies, popular culture, science fiction, film, and TV.}, language = {en}, booktitle = {Technologies of the {Gothic} in {Literature} and {Culture}: {Technogothics}}, publisher = {Routledge}, author = {Gardner, Kelly}, editor = {Edwards, Justin D.}, month = feb, year = {2015}, pages = {71--83} } @incollection{edwards_biomedical_2015, address = {New York; London}, title = {Biomedical {Horror}: {The} {New} {Death} and the {New} {Undead}}, isbn = {978-1-317-63286-3}, abstract = {This volume, a collection with contributions from some of the major scholars of the Gothic in literature and culture, reflects on how recent Gothic studies have foregrounded a plethora of technologies associated with Gothic literary and cultural production. The engaging essays look into the links between technologies and the proliferation of the Gothic seen in an excess of Gothic texts and tropes: Frankensteinesque experiments, the manufacture of synthetic (true?) blood, Moreauesque hybrids, the power of the Borg, Dr Jekyll’s chemical experimentations, the machinery of Steampunk, or the corporeal modifications of Edward Scissorhands. Further, they explore how techno-science has contributed to the proliferation of the Gothic: Gothic in social media, digital technologies, the on-line gaming and virtual Goth/ic communities, the special effects of Gothic-horror cinema. Contributors address how Gothic technologies have, in a general sense, produced and perpetuated ideologies and influenced the politics of cultural practice, asking significant questions: How has the technology of the Gothic contributed to the writing of self and other? How have Gothic technologies been gendered, sexualized, encrypted, coded or de-coded? How has the Gothic manifested itself in new technologies across diverse geographical locations? This volume explores how Gothic technologies textualize identities and construct communities within a complex network of power relations in local, national, transnational, and global contexts. It will be of interest to scholars of the literary Gothic, extending beyond to include fascinating interventions into the areas of cultural studies, popular culture, science fiction, film, and TV.}, language = {en}, booktitle = {Technologies of the {Gothic} in {Literature} and {Culture}: {Technogothics}}, publisher = {Routledge}, author = {Luckhurst, Roger}, editor = {Edwards, Justin D.}, month = feb, year = {2015}, pages = {84--98} } @incollection{edwards_language_2015, address = {New York; London}, title = {Language {Will} {Eat} {Your} {Brain}}, isbn = {978-1-317-63286-3}, abstract = {This volume, a collection with contributions from some of the major scholars of the Gothic in literature and culture, reflects on how recent Gothic studies have foregrounded a plethora of technologies associated with Gothic literary and cultural production. The engaging essays look into the links between technologies and the proliferation of the Gothic seen in an excess of Gothic texts and tropes: Frankensteinesque experiments, the manufacture of synthetic (true?) blood, Moreauesque hybrids, the power of the Borg, Dr Jekyll’s chemical experimentations, the machinery of Steampunk, or the corporeal modifications of Edward Scissorhands. Further, they explore how techno-science has contributed to the proliferation of the Gothic: Gothic in social media, digital technologies, the on-line gaming and virtual Goth/ic communities, the special effects of Gothic-horror cinema. Contributors address how Gothic technologies have, in a general sense, produced and perpetuated ideologies and influenced the politics of cultural practice, asking significant questions: How has the technology of the Gothic contributed to the writing of self and other? How have Gothic technologies been gendered, sexualized, encrypted, coded or de-coded? How has the Gothic manifested itself in new technologies across diverse geographical locations? This volume explores how Gothic technologies textualize identities and construct communities within a complex network of power relations in local, national, transnational, and global contexts. It will be of interest to scholars of the literary Gothic, extending beyond to include fascinating interventions into the areas of cultural studies, popular culture, science fiction, film, and TV.}, language = {en}, booktitle = {Technologies of the {Gothic} in {Literature} and {Culture}: {Technogothics}}, publisher = {Routledge}, author = {Schwenger, Peter}, editor = {Edwards, Justin D.}, month = feb, year = {2015}, pages = {179--186} } @article{slotwinska_rising_2015, title = {The {Rising} {Multitude}: {Zombie} {Invasion} and the {Problem} of {Biopolitics} in {Max} {Brooks}’s \textit{{World} {War} {Z}}}, volume = {9}, shorttitle = {The {Rising} {Multitude}}, url = {http://paas.org.pl/wp-content/uploads/2013/10/PJAS_vol9.pdf}, urldate = {2016-05-15}, journal = {Polish Journal for American Studies}, author = {Słotwińska, Karolina}, year = {2015}, pages = {151--164} } @book{gurr_race_2015, address = {New York}, title = {Race, {Gender}, and {Sexuality} in {Post}-{Apocalyptic} {TV} and {Film}}, isbn = {978-1-137-50150-9}, abstract = {This book offers analyses of the roles of race, gender, and sexuality in the post-apocalyptic visions of early twenty-first century film and television shows. Contributors examine the production, reproduction, and re-imagination of some of our most deeply held human ideals through sociological, anthropological, historical, and feminist approaches.}, language = {Englisch}, publisher = {Palgrave Macmillan}, editor = {Gurr, Barbara}, year = {2015} } @incollection{gurr_organisms_2015, address = {New York}, title = {Organisms and {Human} {Bodies} as {Contagions} in the {Post}-{Apocalyptic} {State}}, isbn = {978-1-137-50150-9}, abstract = {This book offers analyses of the roles of race, gender, and sexuality in the post-apocalyptic visions of early twenty-first century film and television shows. Contributors examine the production, reproduction, and re-imagination of some of our most deeply held human ideals through sociological, anthropological, historical, and feminist approaches.}, language = {Englisch}, booktitle = {Race, {Gender}, and {Sexuality} in {Post}-{Apocalyptic} {TV} and {Film}}, publisher = {Palgrave Macmillan}, author = {Booth, Robert A.}, editor = {Gurr, Barbara}, year = {2015}, keywords = {Bodies}, pages = {17--30} } @incollection{gurr_woman_2015, address = {New York}, title = {Woman as {Evolution}: {The} {Feminist} {Promise} of the \textit{{Resident} {Evil}} {Film} {Series}}, isbn = {978-1-137-50150-9}, abstract = {This book offers analyses of the roles of race, gender, and sexuality in the post-apocalyptic visions of early twenty-first century film and television shows. Contributors examine the production, reproduction, and re-imagination of some of our most deeply held human ideals through sociological, anthropological, historical, and feminist approaches.}, language = {Englisch}, booktitle = {Race, {Gender}, and {Sexuality} in {Post}-{Apocalyptic} {TV} and {Film}}, publisher = {Palgrave Macmillan}, author = {Harris, Andrea}, editor = {Gurr, Barbara}, year = {2015}, pages = {99--112} } @incollection{gurr_cops_2015, address = {New York}, title = {Cops and {Zombies}: {Hierarchy} and {Social} {Location} in \textit{{The} {Walking} {Dead}}}, isbn = {978-1-137-50150-9}, abstract = {This book offers analyses of the roles of race, gender, and sexuality in the post-apocalyptic visions of early twenty-first century film and television shows. Contributors examine the production, reproduction, and re-imagination of some of our most deeply held human ideals through sociological, anthropological, historical, and feminist approaches.}, language = {Englisch}, booktitle = {Race, {Gender}, and {Sexuality} in {Post}-{Apocalyptic} {TV} and {Film}}, publisher = {Palgrave Macmillan}, author = {Lavin, Melissa F. and Lowe, Brian M.}, editor = {Gurr, Barbara}, year = {2015}, pages = {113--124} } @incollection{gurr_propagation_2015, address = {New York}, title = {Propagation and {Procreation}: {The} {Zombie} and the {Child}}, isbn = {978-1-137-50150-9}, abstract = {This book offers analyses of the roles of race, gender, and sexuality in the post-apocalyptic visions of early twenty-first century film and television shows. Contributors examine the production, reproduction, and re-imagination of some of our most deeply held human ideals through sociological, anthropological, historical, and feminist approaches.}, language = {Englisch}, booktitle = {Race, {Gender}, and {Sexuality} in {Post}-{Apocalyptic} {TV} and {Film}}, publisher = {Palgrave Macmillan}, author = {Berger, James}, editor = {Gurr, Barbara}, year = {2015}, pages = {149--164} } @incollection{roche_bastard_2012, address = {Cambridge}, title = {Bastard {Remakes}: {Homage} and {Betrayal} in \textit{{Dawn} of the {Dead}} ({Zack} {Snyder}, 2004) and \textit{{Halloween}} ({Rob} {Zombie}, 2007)}, url = {https://hal.archives-ouvertes.fr/hal-00708891}, booktitle = {In {Praise} of {Cinematic} {Bastardy}}, publisher = {Cambridge Scholars}, author = {Roche, David}, editor = {Lefait, Sébastien and Ortoli, Philippe}, year = {2012}, pages = {136--45} } @article{roche_resisting_2011, title = {Resisting {Bodies}: {Power} {Crisis} / {Meaning} {Crisis} in the {Zombie} {Film} from 1932 to {Today}.}, volume = {6}, url = {http://revuesshs.u-bourgogne.fr/textes}, language = {en}, journal = {Textes \& Contextes}, author = {Roche, David}, year = {2011} } @incollection{marak_werewolf_2014, address = {Wroclaw}, title = {The {Werewolf} and the {Zombie}: {The} {Undead} {Body} and the {Misshapen} {Body} in {Horror}}, language = {en}, booktitle = {Literatura i {Kultura} {Popularna} {XX}}, publisher = {Wydawnictwo Uniwersytetu Wroclawskiego}, author = {Marak, Katarzyna}, editor = {Gemra, Anna}, year = {2014}, pages = {65--82} } @article{switaj_ageing_2014, title = {Ageing, {Disability}, and {Zombies}: {The} {Happy} {Zombie} {Sunrise} {Home}}, volume = {14}, language = {en}, number = {2}, journal = {Femspec}, author = {Switaj, Elizabeth}, year = {2014}, pages = {34--58} } @article{keetley_zombie_2014-2, title = {Zombie {Republic}: {Property} and the {Propertyless} {Multitude} in {Romero}'s {Dead} {Films} and {Kirkman}'s \textit{{The} {Walking} {Dead}}}, volume = {25}, language = {en}, number = {2/3}, journal = {Journal of the Fantastic in the Arts}, author = {Keetley, Dawn}, year = {2014}, pages = {295--313} } @incollection{shaviro_contagious_1993, address = {Minneapolis}, edition = {6th reprint}, title = {Contagious {Allegories}: {George} {Romero}}, isbn = {978-0-8166-2294-8}, abstract = {In 'The Cinematic Body', Steven Shaviro proposes a radical new approach to film viewing. Moving between Jerry Lewis and Andy Warhol, between Fassbinder's gay sex icons and George Romero's flesh-eating zombies, 'The Cinematic Body' cuts across disciplinary boundaries and seeks to engage new currents in critical thought. Shaviro radically critiques the Lacanian model currently popular in film theory and film studies, arguing that model's obsessive emphasis on the phallus, castration anxiety, sadistic mastery, ideology, and the structure of the signifier. In this groundbreaking volume, Shaviro effectively communicates a sense of the inescapable ambivalences and intensities of contemporary culture, ultimately affirming a thoroughly postmodern sensibility CONTENTS: Film Theory and Visual Fascination: Appendix - Deleuze and Guttari's Theory of Sexuality * Contagious Allegories: George Romero * Comedies of Abjection: Jerry Lewis * Bodies of Fear: David Cronenberg * Masculinity, Spectacle, and the Body of 'Querelle' * Warhol's Bodies * A Note on Bresson * Conclusions}, language = {English}, booktitle = {Cinematic {Body}}, publisher = {University of Minnesota Press}, author = {Shaviro, Steven}, year = {1993}, pages = {83--106} } @book{shaviro_cinematic_1993, address = {Minneapolis}, edition = {6th reprint}, title = {Cinematic {Body}}, isbn = {978-0-8166-2294-8}, abstract = {In 'The Cinematic Body', Steven Shaviro proposes a radical new approach to film viewing. Moving between Jerry Lewis and Andy Warhol, between Fassbinder's gay sex icons and George Romero's flesh-eating zombies, 'The Cinematic Body' cuts across disciplinary boundaries and seeks to engage new currents in critical thought. Shaviro radically critiques the Lacanian model currently popular in film theory and film studies, arguing that model's obsessive emphasis on the phallus, castration anxiety, sadistic mastery, ideology, and the structure of the signifier. In this groundbreaking volume, Shaviro effectively communicates a sense of the inescapable ambivalences and intensities of contemporary culture, ultimately affirming a thoroughly postmodern sensibility CONTENTS: Film Theory and Visual Fascination: Appendix - Deleuze and Guttari's Theory of Sexuality * Contagious Allegories: George Romero * Comedies of Abjection: Jerry Lewis * Bodies of Fear: David Cronenberg * Masculinity, Spectacle, and the Body of 'Querelle' * Warhol's Bodies * A Note on Bresson * Conclusions}, language = {English}, publisher = {University of Minnesota Press}, author = {Shaviro, Steven}, year = {1993} } @book{williams_combined_2010, address = {Winchester UK; Washington, USA}, title = {Combined and {Uneven} {Apocalypse}}, isbn = {978-1-84694-773-5}, shorttitle = {Combined and {Uneven} {Apocalypse}}, abstract = {From the repurposed rubble of salvagepunk to undead hordes banging on shopping mall doors, from empty waste zones to teeming plagued cities, Combined and Uneven Apocalypse grapples with the apocalyptic fantasies of our collapsing era. Moving through the films, political tendencies, and recurrent crises of late capitalism, Evan Calder Williams paints a black toned portrait of the dream and nightmare images of a global order gone very, very wrong. Situating itself in the defaulting financial markets of the present, Combined and Uneven Apocalypse glances back toward a messy history of zombies, car wrecks, tidal waves, extinction, trash heaps, labour, pandemics, wolves, cannibalism, and general nastiness that populate the underside of our cultural imagination. Every age may dream the end of the world to follow, but these scattered nightmare figures are a skewed refraction of the normal hell of capitalism. The apocalypse isn't something that will happen one day: it's just the slow unveiling of the catastrophe we've been living through for centuries. Against any fantasies of progress, return, or reconciliation, Williams launches a loathing critique of the bleak present and offers a graveside smile for our necessary battles to come.}, language = {en}, publisher = {Zero Books}, author = {Williams, Evan Calder}, year = {2010} } @article{titlestad_logic_2013, title = {The {Logic} of the {Apocalypse}: {A} {Clerical} {Rejoinder}}, volume = {14}, issn = {1753-3171}, shorttitle = {The {Logic} of the {Apocalypse}}, url = {http://dx.doi.org/10.1080/17533171.2012.760835}, doi = {10.1080/17533171.2012.760835}, abstract = {Apocalyptic and millennial rhetoric is recycled in countless contemporary literary and cinematic works and is central in versions of progressive political critique. The first part of this essay describes Cormac McCarthy’s The Road as a dystopian allegory mired in Judeo-Christian temporality and which, as a consequence, promotes a sentimental version of human salvation. The second considers the ways in which analogous renditions of catastrophism permeate (new) new left social and political critique. It argues that apocalyptic imagery and discursive structures stunt analysis by indulging simplistic patterns of history and event. The final section of the essay documents a project by Johannesburg-based artist, Jacki McInnes, and the photographer, John Hodgkiss, concerning the lives of the city’s informal recyclers. Their daily journeys are presented in (discursive and visual) counterpoint to the epic southward trek of the father and son in The Road. “Recycling” is presented as a trope of a contrary temporality, which suggests some of the ways in which apocalyptic logic is too teleological to capture the complexities of the lived realities of late-capitalism.}, number = {1}, urldate = {2016-05-17}, journal = {Safundi: The Journal of South African and American Studies}, author = {Titlestad, Michael}, month = jan, year = {2013}, pages = {93--110} } @article{mcglotten_geriatric_2013, title = {The {Geriatric} {Clinic}: {Dry} and {Limp}: {Aging} {Queers}, {Zombies}, and {Sexual} {Reanimation}}, volume = {34}, issn = {1041-3545, 1573-3645}, shorttitle = {The {Geriatric} {Clinic}}, url = {http://link.springer.com/10.1007/s10912-013-9226-8}, doi = {10.1007/s10912-013-9226-8}, abstract = {This essay looks to the omission of aging queer bodies from new medicaltechnologies of sex. We extend the Foucauldian space of the clinic to the mediascape, a space not only of representations but where the imagination is conditioned and different worlds dreamed into being. We specifically examine the relationship between aging queersand the marketing of technologies of sexual function. We highlight the ways queers areexcluded from the spaces of the clinic, specifically the heternormative sexual scripts that organize biomedical care. Finally, using recent zombie theory, we gesture toward both theconstraints and possibilities of queer inclusion within the discourses and practices that aim toreanimate sexual function. We suggest that zombies usefully frame extant articulations of aging queers with sex and the dangerous lure of medical treatments that promise revitalized, but normative, sexual function at the cost of other, perhaps queerer intimacies.}, language = {en}, number = {2}, urldate = {2016-05-17}, journal = {Journal of Medical Humanities}, author = {McGlotten, Shaka and Moore, Lisa Jean}, month = jun, year = {2013}, pages = {261--268} } @article{giuliani_fears_2015, title = {Fears of {Disaster} and ({Post}-){Human} {Raciologies} in {European} {Popular} {Culture} (2001–2013)}, volume = {7}, url = {http://www.cultureunbound.ep.liu.se/article.asp?DOI=10.3384/cu.2000.1525.1572363}, number = {3}, urldate = {2016-05-24}, journal = {Culture Unbound: Journal of Current Cultural Research}, author = {Giuliani, Gaia}, year = {2015}, pages = {363--385} } @article{oloff_greening_2012, title = {‘{Greening}’ {The} {Zombie}: {Caribbean} {Gothic}, {World}-{Ecology}, and {Socio}-{Ecological} {Degradation}}, volume = {16}, issn = {1468-8417}, shorttitle = {‘{Greening}’ {The} {Zombie}}, url = {http://dx.doi.org/10.1080/14688417.2012.10589098}, doi = {10.1080/14688417.2012.10589098}, number = {1}, urldate = {2016-05-24}, journal = {Green Letters}, author = {Oloff, Kerstin}, month = jan, year = {2012}, pages = {31--45} } @incollection{niblett_zombies_2016, address = {Liverpool}, title = {Zombies, {Gender} and {World}-{Ecology}: {Gothic} {Narrative} in the {Work} of {Mayra} {Montero} and {Ana} {Lydia} {Vega}}, isbn = {978-1-78138-295-0}, abstract = {Bringing together the work of literary critics, social scientists, activists, and creative writers, this edited collection explores the complex relationships between environmental change, political struggle, and cultural production in the Caribbean. It ranges across the archipelago, with essays covering such topics as the literary representation of tropical storms and hurricanes, the cultural fallout from the Haitian earthquake of 2010, struggles over the rainforest in Guyana, and the role of colonial travel narratives in the reorganization of landscapes. The collection marks an important contribution to the fields of Caribbean studies, postcolonial studies, and ecocriticism. Through its deployment of the concept of 'world-ecology', it offers up a new angle of vision on the interconnections between aesthetics, ecology, and politics. The volume seeks to grasp these categories not as discrete (if overlapping) entities, but rather as differentiated moments within a single historical process.}, language = {English}, booktitle = {The {Caribbean}: {Aesthetics}, {World}-{Ecology}, {Politics}}, publisher = {Liverpool University Press}, author = {Oloff, Kerstin}, editor = {Niblett, Michael and Campbell, Chris}, year = {2016}, pages = {??--??} } @book{yuen_walking_2012, address = {Chicago}, title = {The {Walking} {Dead} and {Philosophy}: {Zombie} {Apocalypse} {Now}}, isbn = {978-0-8126-9767-4}, shorttitle = {The {Walking} {Dead} and {Philosophy}}, abstract = {Rick, Lori, Shane, Carl, Dale, Andrea, and Michonne--human survivors of a zombie apocalypse--don't know much about philosophy, but philosophical ideas continue to shamble on through their world, and there's no excape from them. The Walking Dead is both a hugely successful comics series and a popular TV show. This epic story of a zombie apocalypse is unique. It focuses on the long-term individual, social, and moral consequences of survival by small groups of humans in a world overrun by infected zombies. Guns, chainsaws, and machetes are not enough for survival: humans also need agreement on rules of conduct. Can equality or fairness have any polace in the post-apocalyptic world? Do theft or even assault and murder become okay under desperate circumstances? Who should be recognized as having political authority? What about eating human flesh? Should survivors have children? As zombies have low IQs, terrible manners, and the overpowering urge to eat people, do they have any rights at all? Am I still me if I become a zombie? Do zombies know anything? are they rational? Would it be ethical to train a zombie and keep it as a pet? What the heck are P-zombies? And why would we all jump at the chance}, language = {en}, publisher = {Open Court}, editor = {Yuen, Wayne}, year = {2012} } @article{heinze_no_2014, title = {No {More} {Room} in {Hell}: {Utopian} {Moments} in the {Dystopia} of \textit{28 {Days} {Later}}}, volume = {55}, issn = {2196-4726}, shorttitle = {No {More} {Room} in {Hell}}, url = {http://www.degruyter.com/view/j/zaa.2007.55.issue-1/zaa-2007-0106/zaa-2007-0106.xml}, doi = {10.1515/zaa-2007-0106}, abstract = {Focusing on the zombie-film 28 Days Later (Danny Boyle) may at first sight seem an odd choice in the context of utopian writing, but links to utopia can in fact be drawn on various levels. Zombies, like utopia itself, can function as a means to comment on or criticize present society; the creation of zombies in 28 Days Later is linked to an utopian ideal, the elimination of rage; and the film can be read as a quest for a utopian space in a pastoral setting. Thus, the film is discussed as a self-referential mixture of genres that combines dystopia with apocalypse, utopia with the pastoral, and that ironically undercuts all its generic statements.}, number = {1}, urldate = {2016-06-03}, journal = {Zeitschrift für Anglistik und Amerikanistik}, author = {Heinze, Rüdiger and Petzold, Jochen}, year = {2014}, pages = {53--68} } @article{sidorsky_post-mortems_2002, title = {Post-{Mortems} of the {Sixties}: {Deep} {Structure} {Specters} and {Walking} {Zombies}}, volume = {69}, issn = {00312525}, shorttitle = {Post-mortems of the sixties}, url = {http://go.galegroup.com/ps/i.do?id=GALE%7CA85675366&sid=googleScholar&v=2.1&it=r&linkaccess=abs&issn=00312525&p=AONE&sw=w}, language = {English}, number = {2}, urldate = {2016-06-03}, journal = {Partisan Review}, author = {Sidorsky, David}, month = mar, year = {2002}, pages = {240--256} } @book{robichaud_walking_2012, address = {New York}, title = {The {Walking} {Dead} and {Philosophy}: {Shotgun}. {Machete}. {Reason}.}, isbn = {978-1-118-34668-6}, shorttitle = {The {Walking} {Dead} and {Philosophy}}, abstract = {The story of The Walking Dead chronicles the lives of a group of survivors in the wake of a zombie apocalypse. The Walking Dead is an Eisner-award winning comic book series by writer Robert Kirkman. Started in 2003, the comic book continues to publish monthly and has published a total of 92 issues. The popularity of this comic book series led to graphic novel publications (see competing titles) as well as the critically acclaimed TV adaptation on AMC. The Walking Dead is AMC's highest-rated show ever surpassing even Mad Men's ratings at its peak. Both the comic book series and TV show force us to confront our most cherished values and ask: would we still be able to hold onto these things in such a world? What are we allowed to do? What aren't we? Are there any boundaries left? The Walking Dead and Philosophy will answer these and other questions: Is it ok to "opt out?" Is it morally acceptable to abandon Merle? What happens to law in a post-zombie world? Does marriage have any meaning anymore? What duty do survivors have to each other?}, language = {en}, publisher = {Wiley}, editor = {Robichaud, Christopher}, month = mar, year = {2012} } @incollection{packer_were_2014, address = {Santa Barbara, CA}, title = {“{We}’re {Them} and {They}’re {Us}”: {Zombies} as a {Reflection} of {American} {Culture}}, isbn = {978-0-313-39771-4}, abstract = {Evil has been with us since the Garden of Eden, when Eve unleashed evil by biting the apple. Outside of theology, evil remains a highly relevant concept in contemporary times: evil villains in films and literature make these stories entertaining; our criminal justice system decides the fate of convicted criminals based on the determination of their status as "evil" or "insane." This book examines the many manifestations of "evil" in modern media, making it clear how this idea pervades nearly all aspects of life and helping us to reconsider some of the notions about evil that pop culture perpetuates and promotes.Covering screen media such as film, television, and video games; print media that include novels and poetry; visual media like art and comics; music; and political polemics, the essays in this book address an eclectic range of topics. The diverse authors include Americans who left the United States during the Vietnam War era, conservative Christian political pundits, rock musicians, classical linguists, Disney fans, scholars of American slavery, and experts on Holocaust literature and films. From portrayals of evil in the television shows The Wire and 24 to the violent lyrics of the rap duo Insane Clown Posse to the storylines of the Lord of the Rings and Harry Potter books, readers will find themselves rethinking what evil is—and how they came to hold their beliefs.}, language = {en}, booktitle = {A {History} of {Evil} in {Popular} {Culture}: {What} {Hannibal} {Lecter}, {Stephen} {King}, and {Vampires} {Reveal} {About} {America}}, publisher = {ABC-CLIO}, author = {Pulliam, June}, editor = {Packer, Sharon and Pennington, Jody}, month = jul, year = {2014}, pages = {269--280} } @incollection{packer_nightmare_2014, address = {Santa Barbara, CA}, title = {Nightmare on {Wall} {Street}: {Zombie} {Bankers} and the {New} {Contagion}}, isbn = {978-0-313-39771-4}, abstract = {Evil has been with us since the Garden of Eden, when Eve unleashed evil by biting the apple. Outside of theology, evil remains a highly relevant concept in contemporary times: evil villains in films and literature make these stories entertaining; our criminal justice system decides the fate of convicted criminals based on the determination of their status as "evil" or "insane." This book examines the many manifestations of "evil" in modern media, making it clear how this idea pervades nearly all aspects of life and helping us to reconsider some of the notions about evil that pop culture perpetuates and promotes.Covering screen media such as film, television, and video games; print media that include novels and poetry; visual media like art and comics; music; and political polemics, the essays in this book address an eclectic range of topics. The diverse authors include Americans who left the United States during the Vietnam War era, conservative Christian political pundits, rock musicians, classical linguists, Disney fans, scholars of American slavery, and experts on Holocaust literature and films. From portrayals of evil in the television shows The Wire and 24 to the violent lyrics of the rap duo Insane Clown Posse to the storylines of the Lord of the Rings and Harry Potter books, readers will find themselves rethinking what evil is—and how they came to hold their beliefs.}, language = {en}, booktitle = {A {History} of {Evil} in {Popular} {Culture}: {What} {Hannibal} {Lecter}, {Stephen} {King}, and {Vampires} {Reveal} {About} {America}}, publisher = {ABC-CLIO}, author = {Peckham, Robert}, editor = {Packer, Sharon and Pennington, Jody}, month = jul, year = {2014}, pages = {237--248} } @incollection{packer_nazi_2014, address = {Santa Barbara, CA}, title = {Nazi {Zombies}: {The} {Horrors} of {War}, {Revived}}, isbn = {978-0-313-39771-4}, abstract = {Evil has been with us since the Garden of Eden, when Eve unleashed evil by biting the apple. Outside of theology, evil remains a highly relevant concept in contemporary times: evil villains in films and literature make these stories entertaining; our criminal justice system decides the fate of convicted criminals based on the determination of their status as "evil" or "insane." This book examines the many manifestations of "evil" in modern media, making it clear how this idea pervades nearly all aspects of life and helping us to reconsider some of the notions about evil that pop culture perpetuates and promotes.Covering screen media such as film, television, and video games; print media that include novels and poetry; visual media like art and comics; music; and political polemics, the essays in this book address an eclectic range of topics. The diverse authors include Americans who left the United States during the Vietnam War era, conservative Christian political pundits, rock musicians, classical linguists, Disney fans, scholars of American slavery, and experts on Holocaust literature and films. From portrayals of evil in the television shows The Wire and 24 to the violent lyrics of the rap duo Insane Clown Posse to the storylines of the Lord of the Rings and Harry Potter books, readers will find themselves rethinking what evil is—and how they came to hold their beliefs.}, language = {en}, booktitle = {A {History} of {Evil} in {Popular} {Culture}: {What} {Hannibal} {Lecter}, {Stephen} {King}, and {Vampires} {Reveal} {About} {America}}, publisher = {ABC-CLIO}, author = {Miller, Cynthia J.}, editor = {Packer, Sharon and Pennington, Jody}, month = jul, year = {2014}, pages = {199--210} } @book{packer_history_2014, address = {Santa Barbara, CA}, title = {A {History} of {Evil} in {Popular} {Culture}: {What} {Hannibal} {Lecter}, {Stephen} {King}, and {Vampires} {Reveal} {About} {America}}, isbn = {978-0-313-39771-4}, shorttitle = {A {History} of {Evil} in {Popular} {Culture}}, abstract = {Evil has been with us since the Garden of Eden, when Eve unleashed evil by biting the apple. Outside of theology, evil remains a highly relevant concept in contemporary times: evil villains in films and literature make these stories entertaining; our criminal justice system decides the fate of convicted criminals based on the determination of their status as "evil" or "insane." This book examines the many manifestations of "evil" in modern media, making it clear how this idea pervades nearly all aspects of life and helping us to reconsider some of the notions about evil that pop culture perpetuates and promotes.Covering screen media such as film, television, and video games; print media that include novels and poetry; visual media like art and comics; music; and political polemics, the essays in this book address an eclectic range of topics. The diverse authors include Americans who left the United States during the Vietnam War era, conservative Christian political pundits, rock musicians, classical linguists, Disney fans, scholars of American slavery, and experts on Holocaust literature and films. From portrayals of evil in the television shows The Wire and 24 to the violent lyrics of the rap duo Insane Clown Posse to the storylines of the Lord of the Rings and Harry Potter books, readers will find themselves rethinking what evil is—and how they came to hold their beliefs.}, language = {en}, publisher = {ABC-CLIO}, editor = {Packer, Sharon and Pennington, Jody}, month = jul, year = {2014} } @incollection{subero_bromance_2016, address = {New York}, title = {Bromance, {Homosociality} and the {Crisis} of {Masculinity} in the {Latin} {American} {Zombie} {Movie}}, copyright = {©2016 The Editor(s) (if applicable) and The Author(s)}, isbn = {978-1-137-56494-8 978-1-137-56495-5}, url = {http://link.springer.com/chapter/10.1057/978-1-137-56495-5_5}, abstract = {The zombie narrative could be regarded as a metaphor for reflecting on and externalising social anxieties in relation to the loss of individuality. Most zombie films tend to play with the anxieties of an imaginary male audience whose sense of sexual identity—understood as inherently heterosexual—seems to be in direct correlation to the male protagonist’s fate. The heterosexual identity seems to be at stake during the narrative and is somewhat jeopardised by the threat of the protagonist becoming a zombie at any given point. With such an emphasis on male relationships, it is possible to argue that the imminent possibility of the disappearance of humankind becomes the catalyst for the emergence of homosocial feelings among such men and, as a result, the emergence and development of bromance narratives. The zombie comedy, especially, appears to operate as the bromantic and homosocial narrative par excellence in which male characters can finally express their mutual ‘love’ in the disguise of brotherly banter, while using jokes as a shield to cover up what are perhaps their real feelings for one another.}, language = {en}, urldate = {2016-06-03}, booktitle = {Gender and {Sexuality} in {Latin} {American} {Horror} {Cinema}}, publisher = {Palgrave Macmillan}, author = {Subero, Gustavo}, year = {2016}, note = {DOI: 10.1057/978-1-137-56495-5\_5}, pages = {147--177} } @book{kleinschnittger_zombie_2015, address = {Baden-Baden}, series = {Schriftenreihe "{Short} {Cuts} - {Cross} {Media}"}, title = {Zombie {Society}: {Mediale} {Modulationen} der {Figur} des {Zombie} in {Vergangenheit} und {Gegenwart}}, isbn = {978-3-8487-2423-9 978-3-8452-6582-7}, shorttitle = {Zombie {Society}}, language = {ger}, number = {8}, publisher = {Nomos}, author = {Kleinschnittger, Vanessa}, year = {2015}, note = {OCLC: 915384086} } @article{donaldson_normality_2011, title = {Normality {Is} {Threatened} by the {Monster}: {Robin} {Wood}, {Romero} and {Zombies}}, issn = {0826-9866}, shorttitle = {Normality {Is} {Threatened} by the {Monster}}, url = {https://www.questia.com/library/journal/1G1-260944330/normality-is-threatened-by-the-monster-robin-wood}, abstract = {The democratic scope of Robin Wood's film criticism is something to be celebrated in itself; that his interests were always varied and wide ranging is the key strength of his writing. Who, but Robin Wood, would have seen Meet Me in St. Louis (Vincente Minnelli, 1944) and The Texas Chain Saw Massacre (Tobe Hooper, 1974) as American family comedies? His critical career started with a call for taking Hitchcock seriously, and it is this quality, of taking movies seriously (cutting across apparent binaries of 'art' and 'exploitation'), that I admire the most, not least when it comes to horror. My tribute to Robin Wood will focus on his influence on horror criticism, and more specifically, on his appraisal of George A. Romero as 'a great and audacious filmmaker' through detailed consideration of his zombie movies. (1) Robin Wood's approach to horror is characteristic of his criticism more generally, in its capacity to directly address and unravel concerns central to the experience of film. In an attempt to echo his characteristically straightforward manner I will start with a list of the key elements of his extraordinary influence on horror criticism. 1. 'Normality is threatened by the monster'. (2) Wood's basic formula for all horror films presents a paradigm which cuts directly to the key dynamics of the genre, despite its many forms across the varied eras of American filmmaking. His forthright statement crucially understands horror's close relationship to other genres--as indicated by his suggestion of the substitution of 'monster' for Indians/aliens etc--yet doesn't undermine its complexity. 2. 'Return of the repressed'. Consistent with his earlier observation that genres represent 'different strategies for dealing with the same ideological tensions', Wood's argument that horror dramatises the process of repression and its rupture in ideological terms, is a seminal argument which has since dominated the general landscape of horror writing. (3) Building on the normality/monster paradigm, Wood situates the potential radicalism or conservativism of horror as stemming from this central concept, depending on how the ensuing tensions are dealt with; whether the monster is defeated or 'normality' is not re-established, ambiguity allowed to remain a problem: One might say that the true subject of the horror genre is the struggle for recognition of all that our civilization represses or oppresses: its re-emergence dramatized, as in our nightmares, as an object of horror, a matter for terror, and the 'happy ending' (when it exists) typically signifying the restoration of repression. (4) 3. Ambivalence. From these thematic and ideological bases Wood connected address and response by drawing attention to the ambivalence encouraged by horror. Most strikingly, for Wood this is expressed by a sympathetic monster (he suggested that few are totally unsympathetic) and its destruction of 'normality': 'Central to the effect and fascination of horror films is their fulfilment of our nightmare wish to smash the norms that oppress us and to which our moral conditioning teaches us to revere'. (5) Wood's perception that the monster has its source in the very systems of normal society is a conceptually brilliant and highly persuasive hypothesis, the importance of which cannot be underestimated. 4. Horror's importance to American Cinema. In coherence with his observation that '[o]ne of the greatest obstacles to any fruitful theory of genre has been the tendency to treat the genres as discrete', through Wood's analyses horror is treated seriously, as one of the central genres of American cinema. (6) This quality of Wood's writing is also consistent with his enthusiasm for films of all kinds; his writing on horror must be seen as part of his commitment to a range of areas which converge in illuminating ways. While the ascendance of the horror film in the 1970s lends itself to his understanding of 'the horror film as an important phenomenon within our culture, since the genre, and particularly its finest specimens offer [. …}, language = {eng}, number = {84}, urldate = {2016-06-13}, journal = {CineAction}, author = {Donaldson, Lucy Fife}, month = mar, year = {2011}, pages = {24--31} } @book{wood_hollywood_2003, address = {New York; Chichester}, edition = {2nd ed.}, title = {Hollywood from {Vietnam} to {Reagan} ... and {Beyond}: {A} {Revised} and {Expanded} {Edition} of the {Classic} {Text}}, isbn = {978-0-231-50757-8}, shorttitle = {Hollywood from {Vietnam} to {Reagan}...and {Beyond}}, abstract = {This classic of film criticism, long considered invaluable for its eloquent study of a problematic period in film history, is now substantially updated and revised by the author to include chapters beyond the Reagan era and into the twenty-first century. For the new edition, Robin Wood has written a substantial new preface that explores the interesting double context within which the book can be read-that in which it was written and that in which we find ourselves today. Among the other additions to this new edition are a celebration of modern \"screwball\" comedies like My Best Friend\&\#39;s Wedding, and an analysis of \&\#39;90s American and Canadian teen movies in the vein of American Pie, Can\&\#39;t Hardly Wait, and Rollercoaster. Also included are a chapter on Hollywood today that looks at David Fincher and Jim Jarmusch (among others) and an illuminating essay on Day of the Dead.}, language = {en}, publisher = {Columbia University Press}, author = {Wood, Robin}, year = {2003} } @article{shaviro_capitalist_2002, title = {Capitalist {Monsters}}, volume = {10}, issn = {1569-206X}, url = {http://booksandjournals.brillonline.com/content/journals/10.1163/15692060260474486}, doi = {10.1163/15692060260474486}, number = {4}, urldate = {2016-06-13}, journal = {Historical Materialism}, author = {Shaviro, Steve}, month = dec, year = {2002}, keywords = {Capitalism/Class}, pages = {281--290} } @book{hervey_night_2008, address = {Houndmills, Basingstoke}, title = {Night of the {Living} {Dead}}, isbn = {978-1-84457-546-6}, abstract = {George A. Romero's Night of the Living Dead is a cult classic, a tremendously effective and influential horror film that has resonated with its audiences, and with independent film-makers, ever since its release in 1968. The movie redefined horror cinema, ripping away its Gothic cobwebs to confront harsh contemporary realities, and launched the modern zombie genre that continues with films like 28 Days Later ... and Shaun of the Dead. Shot by Romero and a determined team of Pittsburghers on a shoestring budget, the film was as raw and bleak as uncensored news footage: an uncompromising picture of a nation devouring itself. Young audiences responded: from the counterculture hangouts of Greenwich Village, Night became an international midnight movie cult. Fans returned to see it over and over again. Ben Hervey's illuminating study of the movie and its enduring appeal traces Night's influences, from Powell and Pressburger to fifties horror comics, and provides the first history of its reception. Hervey argues that the film broke cultural barriers, feted at New York's Museum of Modern Art while it was still packing out 42nd Street grindhouses. Scene-by-scene analysis meshes with detailed historical contexts, showing why Night spoke to its audiences about Vietnam, civil rights and the ever-bloodier seizures of a society in the grip of huge change. Hervey argues that Night was a new kind of horror film: the expression of a generation who didn't want their world to return to normal.}, language = {en}, publisher = {Palgrave Macmillan}, author = {Hervey, Ben A.}, month = jun, year = {2008} } @article{lowenstein_living_2010, title = {Living {Dead}: {Fearful} {Attractions} of {Film}}, volume = {110}, copyright = {©© 2010 The Regents of the University of California}, issn = {0734-6018, 1533-855X}, shorttitle = {Living {Dead}}, url = {http://rep.ucpress.edu/content/11/1/15}, doi = {10.1525/rep.2010.110.1.105}, abstract = {This essay analyzes the relationship between fear and film by exploring the theoretical concept of "attractions" and its value for a historical understanding of three seminal American horror films directed by George A. Romero: Night of the Living Dead (1968), Land of the Dead (2005), and Diary of the Dead (2008). All three films belong to the same "Living Dead" series, so the essay focuses especially on their shared temporal relations to historical trauma through issues of deferral, belatedness, and retranscription.}, language = {en}, number = {1}, urldate = {2016-06-21}, journal = {Representations}, author = {Lowenstein, Adam}, month = may, year = {2010}, pages = {105--128} } @article{carr_ability_2014, title = {Ability, {Disability} and \textit{{Dead} {Space}}}, volume = {14}, issn = {1604-7982}, url = {http://gamestudies.org/1402/articles/carr}, number = {2}, urldate = {2016-06-26}, journal = {Game Studies}, author = {Carr, Diane}, month = dec, year = {2014}, keywords = {Bodies} } @article{taylor_me_2015, title = {Me and {Lee}: {Identification} and the {Play} of {Attraction} in \textit{{The} {Walking} {Dead}}}, volume = {15}, issn = {1604-7982}, shorttitle = {Me and {Lee}}, url = {http://gamestudies.org/1501/articles/taylor}, number = {1}, urldate = {2016-06-26}, journal = {Game Studies}, author = {Taylor, Nicholas and Kampe, Chris and Bell, Kristina}, month = jul, year = {2015}, keywords = {Video Games} } @article{brock_when_2011, title = {“{When} {Keeping} it {Real} {Goes} {Wrong}”: \textit{{Resident} {Evil} 5}, {Racial} {Representation}, and {Gamers}}, volume = {6}, issn = {1555-4120, 1555-4139}, shorttitle = {‘‘{When} {Keeping} it {Real} {Goes} {Wrong}’’}, url = {http://gac.sagepub.com/content/6/5/429}, doi = {10.1177/1555412011402676}, abstract = {Videogames’ ability to depict cultural iconographies and characters have occasionally led to accusations of insensitivity. This article examines gamers’ reactions to a developer’s use of Africans as enemies in a survival horror videogame, Resident Evil 5. Their reactions offer insight into how videogames represent Whiteness and White privilege within the social structure of ‘‘play.’’ Omi and Winant’s (1994) racial formation theory notes that race is formed through cultural representations of human bodies organized in social structures. Accordingly, depictions of race in electronic spaces rely upon media imagery and social interactions. Videogames construct exotic fantasy worlds and peoples as places for White male protagonists to conquer, explore, exploit, and solve. Like their precursors in science fiction, fantasy, and horror, videogame narratives, activities, and players often draw from Western values of White masculinity, White privilege as bounded by conceptions of ‘‘other,’’ and relationships organized by coercion and domination.}, language = {en}, number = {5}, urldate = {2016-06-23}, journal = {Games and Culture}, author = {Brock, André}, month = jan, year = {2011}, keywords = {Postcolonialism/Race, Video Games}, pages = {429--452} } @incollection{eckstein_envisioning_2008, address = {Amsterdam}, series = {Internationale {Forschungen} zur allgemeinen und vergleichenden {Literaturwissenschaft}}, title = {Envisioning a {Black} {Tomorrow}? {Black} {Mother} {Figures} and the {Issue} of {Representation} in \textit{28 {Days} {Later}} (2003) and \textit{{Children} of {Men}} (2006)}, isbn = {978-90-420-2497-7}, language = {eng}, number = {121}, booktitle = {Multi-{Ethnic} {Britain} 2000+: {New} {Perspectives} in {Literature}, {Film} and the {Arts}}, publisher = {Rodopi}, author = {Korte, Babara}, editor = {Eckstein, Lars and Korte, Babara and Pirker, Eva Ulrike and Reinfandt, Christoph}, year = {2008}, note = {OCLC: 300158231}, keywords = {Gender}, pages = {315--325} } @incollection{birkenstein_prolepsis_2010, address = {New York}, title = {Prolepsis and the “{War} on {Terror}”: {Zombie} {Pathology} and the {Culture} of {Fear} in \textit{28 {Days} {Later}}}, isbn = {978-1-4411-4195-8}, abstract = {September 11th, 2001 remains a focal point of American consciousness, a site demanding ongoing excavation, a site at which to mark before and after "everything" changed. In ways both real and intangible the entire sequence of events of that day continues to resonate in an endlessly proliferating aftermath of meanings that continue to evolve. Presenting a collection of analyses by an international body of scholars that examines America's recent history, this book focuses on popular culture as a profound discursive site of anxiety and discussion about 9/11 and demystifies the day's events in order to contextualize them into a historically grounded series of narratives that recognizes the complex relations of a globalized world. Essays in Reframing 9/11 share a collective drive to encourage new and original approaches for understanding the issues both within and beyond the official political rhetoric of the events of the "The Global War on Terror" and issues of national security.}, language = {en}, booktitle = {Reframing 9/11: {Film}, {Popular} {Culture} and the "{War} on {Terror}"}, publisher = {Continuum}, author = {Froula, Anna}, editor = {Birkenstein, Jeff and Froula, Anna and Randell, Karen}, month = may, year = {2010}, keywords = {Post-9/11 Omnicrisis}, pages = {107--116} } @incollection{birkenstein_land_2010, address = {New York}, title = {The \textit{{Land} of the {Dead}} and the {Home} of the {Brave}: {Romero}’s {Vision} of a {Post}-9/11 {America}}, isbn = {978-1-4411-4195-8}, abstract = {September 11th, 2001 remains a focal point of American consciousness, a site demanding ongoing excavation, a site at which to mark before and after "everything" changed. In ways both real and intangible the entire sequence of events of that day continues to resonate in an endlessly proliferating aftermath of meanings that continue to evolve. Presenting a collection of analyses by an international body of scholars that examines America's recent history, this book focuses on popular culture as a profound discursive site of anxiety and discussion about 9/11 and demystifies the day's events in order to contextualize them into a historically grounded series of narratives that recognizes the complex relations of a globalized world. Essays in Reframing 9/11 share a collective drive to encourage new and original approaches for understanding the issues both within and beyond the official political rhetoric of the events of the "The Global War on Terror" and issues of national security.}, language = {en}, booktitle = {Reframing 9/11: {Film}, {Popular} {Culture} and the "{War} on {Terror}"}, publisher = {Continuum}, author = {McSweeney, Terence}, editor = {Birkenstein, Jeff and Froula, Anna and Randell, Karen}, month = may, year = {2010}, keywords = {Post-9/11 Omnicrisis}, pages = {195--208} } @incollection{briefel_assimilation_2011, address = {Austin, TX}, title = {Assimilation and the {Queer} {Monster}}, isbn = {978-0-292-74242-0}, abstract = {Horror films have exploded in popularity since the tragic events of September 11, 2001, many of them breaking box-office records and generating broad public discourse. These films have attracted A-list talent and earned award nods, while at the same time becoming darker, more disturbing, and increasingly apocalyptic. Why has horror suddenly become more popular, and what does this say about us? What do specific horror films and trends convey about American society in the wake of events so horrific that many pundits initially predicted the death of the genre? How could American audiences, after tasting real horror, want to consume images of violence on screen?Horror after 9/11 represents the first major exploration of the horror genre through the lens of 9/11 and the subsequent transformation of American and global society. Films discussed include the Twilight saga; the Saw series; Hostel; Cloverfield; 28 Days Later; remakes of The Texas Chainsaw Massacre, Dawn of the Dead, and The Hills Have Eyes; and many more. The contributors analyze recent trends in the horror genre, including the rise of \&\#39;torture porn,\&\#39; the big-budget remakes of classic horror films, the reinvention of traditional monsters such as vampires and zombies, and a new awareness of visual technologies as sites of horror in themselves. The essays examine the allegorical role that the horror film has held in the last ten years, and the ways that it has been translating and reinterpreting the discourses and images of terror into its own cinematic language.}, language = {en}, booktitle = {Horror after 9/11: {World} of {Fear}, {Cinema} of {Terror}}, publisher = {University of Texas Press}, author = {Miller, Sam J.}, editor = {Briefel, Aviva and Miller, Sam J.}, year = {2011}, keywords = {Sexuality}, pages = {220--234} } @incollection{briefel_shop_2011, address = {Austin, TX}, title = {“{Shop} ’{Til} {You} {Drop}!” {Consumerism} and {Horror}}, isbn = {978-0-292-74242-0}, abstract = {Horror films have exploded in popularity since the tragic events of September 11, 2001, many of them breaking box-office records and generating broad public discourse. These films have attracted A-list talent and earned award nods, while at the same time becoming darker, more disturbing, and increasingly apocalyptic. Why has horror suddenly become more popular, and what does this say about us? What do specific horror films and trends convey about American society in the wake of events so horrific that many pundits initially predicted the death of the genre? How could American audiences, after tasting real horror, want to consume images of violence on screen?Horror after 9/11 represents the first major exploration of the horror genre through the lens of 9/11 and the subsequent transformation of American and global society. Films discussed include the Twilight saga; the Saw series; Hostel; Cloverfield; 28 Days Later; remakes of The Texas Chainsaw Massacre, Dawn of the Dead, and The Hills Have Eyes; and many more. The contributors analyze recent trends in the horror genre, including the rise of \&\#39;torture porn,\&\#39; the big-budget remakes of classic horror films, the reinvention of traditional monsters such as vampires and zombies, and a new awareness of visual technologies as sites of horror in themselves. The essays examine the allegorical role that the horror film has held in the last ten years, and the ways that it has been translating and reinterpreting the discourses and images of terror into its own cinematic language.}, language = {en}, booktitle = {Horror after 9/11: {World} of {Fear}, {Cinema} of {Terror}}, publisher = {University of Texas Press}, author = {Briefel, Aviva}, editor = {Briefel, Aviva and Miller, Sam J.}, year = {2011}, keywords = {Consumerism}, pages = {142--164} } @incollection{wood_day_2003, address = {New York; Chichester}, edition = {2nd ed.}, title = {\textit{{Day} of the {Dead}}: {The} {Woman}’s {Nightmare}}, isbn = {978-0-231-50757-8}, abstract = {This classic of film criticism, long considered invaluable for its eloquent study of a problematic period in film history, is now substantially updated and revised by the author to include chapters beyond the Reagan era and into the twenty-first century. For the new edition, Robin Wood has written a substantial new preface that explores the interesting double context within which the book can be read-that in which it was written and that in which we find ourselves today. Among the other additions to this new edition are a celebration of modern \"screwball\" comedies like My Best Friend\&\#39;s Wedding, and an analysis of \&\#39;90s American and Canadian teen movies in the vein of American Pie, Can\&\#39;t Hardly Wait, and Rollercoaster. Also included are a chapter on Hollywood today that looks at David Fincher and Jim Jarmusch (among others) and an illuminating essay on Day of the Dead.}, language = {en}, booktitle = {Hollywood from {Vietnam} to {Reagan} ... and {Beyond}: {A} {Revised} and {Expanded} {Edition} of the {Classic} {Text}}, publisher = {Columbia University Press}, author = {Wood, Robin}, year = {2003}, keywords = {Gender}, pages = {287--294} } @incollection{mercer_monster_1994, address = {New York}, title = {Monster {Metaphors}: {Notes} on {Michael} {Jackson}'s ‘{Thriller}’}, isbn = {978-0-415-90634-0 978-0-415-90635-7}, booktitle = {Welcome to the {Jungle}: {New} {Positions} in {Black} {Cultural} {Studies}}, publisher = {Routledge}, author = {Mercer, Kobena}, year = {1994}, pages = {33--51} } @article{mulvey-roberts_mashing_2014, title = {Mashing up {Jane} {Austen}: \textit{{Pride} and {Prejudice} and {Zombies}} and the {Limits} of {Adaptation}}, shorttitle = {Mashing up {Jane} {Austen}}, url = {http://search.proquest.com/openview/38cf8140d8359c2bf3b89a29b1238a2b/1?pq-origsite=gscholar&cbl=2035804}, number = {13}, urldate = {2016-07-14}, journal = {The Irish Journal of Gothic and Horror Studies}, author = {Mulvey-Roberts, Marie}, year = {2014}, pages = {17--37} } @article{gavaler_zombies_2014, title = {Zombies vs. {Superheroes}: \textit{{The} {Walking} {Dead}} {Resurrection} of \textit{{Fantastic} {Four}} {Gender} {Formulas}}, volume = {7}, url = {http://www.english.ufl.edu/imagetext/archives/v7_4/gavaler/index.shtml}, number = {4}, urldate = {2016-07-14}, journal = {ImageTexT}, author = {Gavaler, Chris}, year = {2014} } @book{dixon_theres_2016, title = {There’s {More} to {Fear} than {Fear} {Itself}}, url = {http://www.interdisciplinarypress.net/product/theres-more-to-fear-than-fear-itself-fears-and-anxieties-in-the-21st-century/}, urldate = {2016-08-10}, publisher = {Inter-Disciplinary Press}, editor = {Dixon, Izabela and Doran, Selina E. M. and Michael, Bethan}, year = {2016} } @article{christopher_zombieland_2016, title = {\textit{{Zombieland}} and the {Inversion} of the {Subaltern} {Zombie}}, volume = {7}, doi = {10.1386/host.7.1.111_1}, abstract = {Who doesn’t love a good zombie splatter-fest? Appealing to commercial audiences and cultural theorists alike, the American zombie movie has been characterized as both a pariah of low art and a rich source of critical insight. In its earliest incarnations, along with much of the broader genre of horror film that preceded it, the zombie film was deemed unworthy of critical analysis. Pioneers such as George A. Romero, however, provided filmic fare that was imbued with political significance. As the zombie genre evolved and matured, it reflected increasingly sophisticated and radical interrogations against the hegemony of the patriarchal culture in which it was produced, carried through the metaphor of zombies who were subaltern in either their undead abjection or their disenfranchized social identities. Recently, however, Christopher Sharrett insisted that “[a]lthough the popularity of the zombie film today is enormous, its value as social/political commentary is not only almost totally gone, it has been transformed by neoconservative culture into its opposite.” This article seeks to elucidate the different interpretations of the somewhat nebulous term ‘subaltern’ and the way it has been co-opted by conservative factions through a thorough analysis of the 2009 reflexive zombie parody Zombieland.}, number = {1}, journal = {Horror Studies}, author = {Christopher, David}, month = apr, year = {2016}, pages = {111--124} } @article{gencarella_thunder_2016, title = {Thunder {Without} {Rain}: {Fascist} {Masculinity} in {AMC}’s \textit{{The} {Walking} {Dead}}}, volume = {7}, shorttitle = {Thunder without rain}, doi = {10.1386/host.7.1.125_1}, abstract = {In this article, I offer a critique of the five seasons of the television series The Walking Dead (TWD) broadcast to date (2010–2015). As the popularity of this show continues to rise, many viewers have demonstrated a willingness to praise TWD without carefully examining its narrative commitments to violence or to attack media critics who point out negative elements at work. My critique contends that the series is decidedly fascistic in nature, and celebratory of fascist masculinity as the key to surviving an apocalyptic situation. I analyse the show through a comparison with the literature of the Freikorps as detailed by Klaus Theweleit’s study of fascism, Male Fantasies ([1977] 1987, [1978] 1989). I examine in detail the prevalence of the ‘soldier male’ in TWD, the limited roles for women, and the representation of the ghoulish undead, drawing upon Theweleit and related scholarship on fascist aesthetics.}, number = {1}, journal = {Horror Studies}, author = {Gencarella, Stephen Olbrys}, month = apr, year = {2016}, pages = {125--146} } @article{boelderl_undead_1995, title = {The {Undead} and the {Living} {Dead}: {Images} of {Vampires} and {Zombies} in {Contemporary} {Culture}}, volume = {23}, number = {1}, journal = {The Journal of Psychohistory}, author = {Boelderl, Artur R and Mayr, Daniela F}, year = {1995}, pages = {51--65} } @book{williams_hearths_2014, address = {Jackson, Mississippi}, edition = {Updated Edition}, title = {Hearths of {Darkness}: {The} {Family} in the {American} {Horror} {Film}}, isbn = {978-1-62674-351-9}, shorttitle = {Hearths of {Darkness}}, abstract = {Hearths of Darkness: The Family in the American Horror Film traces the origins of the 1970s family horror subgenre to certain aspects of American culture and classical Hollywood cinema. Far from being an ephemeral and short-lived genre, horror actually relates to many facets of American history from its beginnings to the present day. Individual chapters examine aspects of the genre, its roots in the Universal horror films of the 1930s, the Val Lewton RKO unit of the 1940s, and the crucial role of Alfred Hitchcock as the father of the modern American horror film. Subsequent chapters investigate the key works of the 1970s by directors such as Larry Cohen, George A. Romero, Brian De Palma, Wes Craven, and Tobe Hooper, revealing the distinctive nature of films such as Bone, It’s Alive, God Told Me To, Carrie, The Exorcist, Exorcist 2, The Texas Chainsaw Massacre, as well as the contributions of such writers as Stephen King. Williams also studies the slasher films of the 1980s and 1990s, such as the Friday the 13th series, Halloween, the remake of The Texas Chainsaw Massacre, and Nightmare on Elm Street, exploring their failure to improve on the radical achievements of the films of the 1970s.After covering some post-1970s films, such as The Shining, the book concludes with a new postscript examining neglected films of the twentieth and early twenty-first century. Despite the overall decline in the American horror film, Williams determines that, far from being dead, the family horror film is still with us. Elements of family horror even appear in modern television series such as The Sopranos. This updated edition also includes a new introduction.}, language = {en}, publisher = {Univ. Press of Mississippi}, author = {Williams, Tony}, year = {2014}, note = {Google-Books-ID: JwYbBwAAQBAJ} } @incollection{canini_trash_2010, address = {Amsterdam}, series = {At the {Interface}/{Probing} the {Boundaries}}, title = {Trash {Mob}: {Zombie} {Walks} and the {Positivity} of {Monsters} in {Western} {Popular} {Culture}}, isbn = {978-90-420-3084-8}, abstract = {The tropes of fear, horror and terror have come to play a dominant role the analysis of contemporary social life. The predominance of fear, as the frame through which we narrativize experience, can be perceived readily echoing across various fields from theoretical research, to the mass media, to the quotidian. Despite the commonly held view that fear is a primitive and universal affect, its definition, potential value, and perceived effects vary wildly in each instance. From literary theory to psychoanalysis to politics to philosophy, this collection of research attempts to both flesh-out these tropes and to complexify them. Individually, the essays reflect a diversity of approaches to the constellation: fear, horror and terror. Taken as a whole, they produce the ground for an analysis of the dominance of fear.}, language = {en}, number = {70}, booktitle = {The {Domination} of {Fear}}, publisher = {Rodopi}, author = {Do Vale, Simone}, editor = {Canini, Mikko}, month = jan, year = {2010}, note = {Google-Books-ID: N4NESwAACAAJ}, pages = {191--202} } @book{phillips_dark_2012, address = {Carbondale; Edwardsville}, title = {Dark {Directions}: {Romero}, {Craven}, {Carpenter}, and the {Modern} {Horror} {Film}}, isbn = {978-0-8093-3097-3}, shorttitle = {Dark {Directions}}, abstract = {A Nightmare on Elm Street. Halloween. Night of the Living Dead. These films have been indelibly stamped on moviegoers’ psyches and are now considered seminal works of horror. Guiding readers along the twisted paths between audience, auteur, and cultural history, author Kendall R. Phillips reveals the macabre visions of these films’ directors in Dark Directions: Romero, Craven, Carpenter, and the Modern Horror Film. Phillips begins by analyzing the works of George Romero, focusing on how the body is used cinematically to reflect the duality between society and chaos, concluding that the unconstrained bodies of the Living Dead films act as a critical intervention into social norms. Phillips then explores the shadowy worlds of director Wes Craven. In his study of the films The Serpent and the Rainbow, Deadly Friend, Swamp Thing, Red Eye, and Shocker, Phillips reveals Craven’s vision of technology as inherently dangerous in its ability to cross the gossamer thresholds of the gothic. Finally, the volume traverses the desolate frontiers of iconic director John Carpenter. Through an exploration of such works as Halloween, The Fog, and In the Mouth of Madness, Phillips delves into the director’s representations of boundaries—and the haunting consequences for those who cross them. The first volume ever to address these three artists together, Dark Directions is a spine-tingling and thought-provoking study of the horror genre. In analyzing the individual works of Romero, Craven, and Carpenter, Phillips illuminates some of the darkest minds in horror cinema.}, language = {en}, publisher = {SIU Press}, author = {Phillips, Kendall R.}, month = feb, year = {2012}, note = {Google-Books-ID: 2FgZVH1PqsoC} } @book{simpson_walking_2016, address = {London}, title = {The {Walking} {Dead} {Live}!: {Essays} on the {Television} {Show}}, isbn = {978-1-4422-7121-0}, shorttitle = {The {Walking} {Dead} {Live}!}, abstract = {In 2010, The Walking Dead premiered on AMC and has since become the most watched scripted program in the history of basic cable. Based on the graphic novel series by Robert Kirkman, The Walking Dead provides a stark, metaphoric preview of what the end of civilization might look like: the collapse of infrastructure and central government, savage tribal anarchy, and purposeless hordes of the wandering wounded. While the representation of zombies has been a staple of the horror genre for more than half a century, the unprecedented popularity of The Walking Dead reflects an increased identification with uncertain times.In The Walking Dead Live! Essays on the Television Show, Philip L. Simpson and Marcus Mallard have compiled essays that examine the show as a cultural text. Contributors to this volume consider how the show engages with our own social practices—from theology and leadership to gender, race, and politics—as well as how the show reflects matters of masculinity, memory, and survivor’s guilt.As a product of anxious times, The Walking Dead gives the audience an idea of what the future may hold and what popular interest in the zombie genre means. Providing insight into the broader significance of the zombie apocalypse story, The Walking Dead Live! will be of interest to scholars of sociology, cultural history, and television, as well as to fans of the show.}, language = {en}, publisher = {Rowman \& Littlefield}, editor = {Simpson, Philip L. and Mallard, Marcus}, month = jul, year = {2016}, note = {Google-Books-ID: 2UR5DAAAQBAJ} } @article{nelson_jane_2013, title = {Jane {Austen} ... {Now} with {Ultraviolent} {Zombie} {Mayhem}}, volume = {6}, issn = {1755-0637, 1755-0645}, url = {http://adaptation.oxfordjournals.org/cgi/doi/10.1093/adaptation/apt014}, doi = {10.1093/adaptation/apt014}, language = {en}, number = {3}, urldate = {2016-07-14}, journal = {Adaptation}, author = {Nelson, Camilla}, month = dec, year = {2013}, pages = {338--354} } @article{alpert_george_2015, title = {George {Romero}'s \textit{{Night} of the {Living} {Dead}} and \textit{{Diary} of the {Dead}}: {Recording} {History}}, issn = {0826-9866}, shorttitle = {George {Romero}'s {Night} of the {Living} {Dead} and {Diary} of the {Dead}}, url = {https://www.questia.com/library/journal/1G1-399265847/george-romero-s-night-of-the-living-dead-and-diary}, abstract = {[ILLUSTRATION OMITTED] Separated by several decades, George Romero's Night of the Living...}, language = {eng}, number = {95}, urldate = {2016-09-22}, journal = {CineAction}, author = {Alpert, Robert}, month = dec, year = {2015}, pages = {16} } @article{berk_walking_2015, title = {\textit{{The} {Walking} {Dead}} as a {Critique} of {American} {Democracy}}, issn = {0826-9866}, url = {https://www.questia.com/library/journal/1G1-399265851/the-walking-dead-as-a-critique-of-american-democracy}, language = {eng}, number = {95}, urldate = {2016-09-22}, journal = {CineAction}, author = {Berk, Isaac}, month = dec, year = {2015}, pages = {48} } @incollection{ryan_mad_2013, address = {Lanham, MD [et al.]}, title = {Mad {Hatters}: {The} {Bad} {Dads} of {AMC}}, isbn = {978-0-7391-7958-1}, abstract = {Sitting prominently at the hearth of our homes, television serves as a voice of our modern time. Given our media-saturated society and television’s prominent voice and place in the home, it is likely we learn about our society and selves through these stories. These narratives are not simply entertainment, but powerful socializing agents that shape and reflect the world and our role in it. Television and the Self: Knowledge, Identity, and Media Representation brings together a diverse group of scholars to investigate the role television plays in shaping our understanding of self and family. This edited collection’s rich and diverse research demonstrates how television plays an important role in negotiating self, and goes far beyond the treacly “very special” episodes found in family sit-coms in the 1980s. Instead, the authors show how television reflects our reality and helps us to sort out what it means to be a twenty-first-century man or woman.}, language = {en}, booktitle = {Television and the {Self}: {Knowledge}, {Identity}, and {Media} {Representation}}, publisher = {Lexington Books}, author = {Staton, David}, editor = {Ryan, Kathleen M. and Macey, Deborah A.}, month = apr, year = {2013}, note = {Google-Books-ID: I1zXvFbjXYYC}, pages = {85--97} } @article{drezner_metaphor_2014, title = {Metaphor of the {Living} {Dead}: {Or}, the {Effect} of the {Zombie} {Apocalypse} on {Public} {Policy} {Discourse}}, volume = {81}, issn = {1944-768X}, shorttitle = {Metaphor of the {Living} {Dead}}, url = {https://muse.jhu.edu/article/566954}, abstract = {Abstract:By any metric, the zombie genre has exploded in popularity in recent years, reflecting a variety of anxieties in the body politic. Surfing the cultural zeitgeist, a number of actors have adopted the zombie trope to advance their own political message. There are clear advantages in using the living dead as a hook for promoting political and policy ideas. The superficial homogeneity of the zombie canon, however, poses some problems for its use going forward. Constant references to the zombie canon can reinforce an apocalyptic perception about the future of modern society. The solution lies in an embrace of more heterogeneous zombie narratives.}, number = {4}, urldate = {2016-09-22}, journal = {Social Research: An International Quarterly}, author = {Drezner, Daniel W.}, year = {2014}, pages = {825--849} } @article{dima_you_2016, title = {You {Only} {Die} {Thrice}: {Zombies} {Revisited} in \textit{{The} {Walking} {Dead}}}, volume = {8}, shorttitle = {You {Only} {Die} {Thrice}}, url = {http://zizekstudies.org/index.php/IJZS/article/viewFile/748/754}, number = {2}, urldate = {2016-09-22}, journal = {International Journal of Žižek Studies}, author = {Dima, Vlad}, year = {2016} } @article{dean_ethical_2012, title = {Ethical {Catechism} and \textit{{The} {Walking} {Dead}}}, shorttitle = {Re-writing the social contract}, url = {http://eprints.lincoln.ac.uk/15541}, number = {2: Apocalypse in Cinema and Visual Arts. New Images for Old Myths}, urldate = {2016-09-22}, journal = {Ekphrasis}, author = {Dean, Robert}, year = {2012}, pages = {87--95} } @incollection{decker_transnational_2015, address = {Heidelberg}, series = {American studies}, title = {The {Transnational} {Zombie}: {Postcolonial} {Memory} and {Rage} in the {Recent} {European} {Horror} {Film}}, isbn = {978-3-8253-6370-3}, number = {volume 261}, booktitle = {Transnational {Mediations}: {Negotiating} {Popular} {Culture} {Between} {Europe} and the {United} {States}}, publisher = {Universitätsverlag Winter}, author = {Soltysik Monnet, Agnieszka}, editor = {Decker, Christof and Böger, Astrid}, year = {2015}, note = {OCLC: ocn922462341}, pages = {151--168} } @article{swanson_zombie_2012, title = {Zombie {Nation}? {The} {Horde}, {Social} {Uprisings}, and {National} {Narratives}}, shorttitle = {Zombie {Nation}?}, url = {http://www.cromrev.com/volumes/vol34/vol34-complete.pdf#page=20}, number = {34}, urldate = {2016-09-22}, journal = {Cincinnati Romance Review}, author = {Swanson, Lucy}, year = {2012}, pages = {13--33} } @article{baker_walking_2014, title = {The {Walking} {Dead} and {Gothic} {Excess}: {The} {Decaying} {Social} {Structures} of {Contagion}}, volume = {17}, copyright = {Copyright (c) 2014 Sarah Baker}, issn = {14412616}, shorttitle = {The {Walking} {Dead} and {Gothic} {Excess}}, url = {http://journal.media-culture.org.au/index.php/mcjournal/article/view/860}, abstract = {The Walking Dead is an American post-apocalyptic horror drama television series based on the comic book series of the same name. In the opening episode, Sheriff’s Deputy Rick Grimes awakens after months in a coma in an abandoned hospital to find a post-apocalyptic world dominated by flesh eating zombies. The cause of the apocalypse is unknown, and Grimes does not know what has happened to his family. The start of the programme is situated around his quest to find his family, and the encounters he has with the many other survivors along the way.   The plot of The Walking Dead centres on the survivors of the apocalypse as they search for safe haven away from the “walkers”, or “biters”; the first series focuses on how they cope with the immediate realities of life in the post-apocalyptic world. From the outset, the programme finds its way through the upheaval and destruction of everyday American life. Decay is persistent and inevitable in the threat of death from the “walkers”; this familiar Gothic trope is ever-present throughout the series.This paper uses a Gothic focus to examine The Walking Dead and considers the disintegration of society and family after the zombie Apocalypse. It focuses primarily on the first series of The Walking Dead, and examines Gothic tropes through a discussion of the decay of the walkers, the decay of the family, and the decay of society.Zombie Gothic It is important to examine the zombie narrative within a Gothic framework. Kyle Bishop argues that “zombies and the narratives that surround them function as part of the larger Gothic literary tradition, even as they change that tradition as well” (31). In contrast to other Gothic traditions that began in literature, the zombie is unique as it began in folklore, cinema and drama. Similarities to other Gothic traditions exist, such as ghosts and vampires, and the zombie narrative serves as a vehicle to examine cultural anxieties and prevailing attitudes. In fact, Bishop suggests that the zombie narrative has now proven itself to be as interesting and complex as more established Gothic traditions (31). Just as earlier Gothic traditions allowed people to explore themselves in the mirror that Frankenstein (1818) or Dracula (1897) provided, the zombie allows for a more modern examination: a world that is increasingly complex with its technological and cybernetic advances yet a world where humanity has still not resolved the great differences that exist. Bishop argues that “during the latter half of the twentieth century, for example, zombie movies repeatedly reacted to social and political unrest, graphically representing the inescapable realities of an untimely death…” (11). The zombie narrative’s ability to adapt to cultural anxieties make it part of the Gothic tradition.  Bishop also argues that, in a post–9/11 climate, the zombie film works as an important example of:the contemporary Gothic, readdressing “the central concerns of the classical Gothic,” such as “the dynamics of family, the limits of rationality and passion, the definition of statehood and citizenship, the cultural effects of technology.” In addition to exposing such repressed cultural anxieties, Fred Botting emphasizes how Gothic narratives “retain a double function in simultaneously assuaging and intensifying the anxieties with which they engage.” (26) The Gothic situates itself from the 18th century as writing of excess and this tendency permeates much of the genre’s narratives, characters and settings. The mutability in Gothic texts provides a platform for many social issues and anxieties to be addressed; its ability to shift and adapt in order to reflect contemporaneous social trends is partly what has enabled it to remain popular (Botting Gothic). The zombie forces a confrontation with the fears of life and death, freedom and enslavement, and the destruction of modern society. These include “the exploitation of the masses in capitalist society, the soullessness of modern-day life, our fear of global apocalypse, our revulsion at the reality of war, and the inevitability of death” (Graves 9). The rise of the zombie narrative plays on humanity’s fear for the future: that modern civilisation has many fundamental weaknesses that may ultimately collapse through one form of global disaster or another.   The Gothic situates itself from the 18th century as writing of excess and this tendency permeates much of the genre’s narratives, characters and settings. The mutability in Gothic texts provides a platform for many social issues and anxieties to be addressed; its ability to shift and adapt in order to reflect contemporaneous social trends is partly what has enabled it to remain popular (Botting Gothic). The zombie forces a confrontation with the fears of life and death, freedom and enslavement, and the destruction of modern society. These include “the exploitation of the masses in capitalist society, the soullessness of modern-day life, our fear of global apocalypse, our revulsion at the reality of war, and the inevitability of death” (Graves 9). The rise of the zombie narrative plays on humanity’s fear for the future: that modern civilisation has many fundamental weaknesses that may ultimately collapse through one form of global disaster or another.   I argue that the zombie is part of a new kind of Gothic with a new monster for a new age. This new monster facilitates the Gothic’s ability to remain relevant in a post-industrial, cyberspace era. Unnatural death is now more horrific, pervasive, and far-reaching than Walpole ever could have imagined when he wrote the now canonical Gothic novel The Castle of Otranto (1764), and the zombie works as a dramatic manifestation of this ever-present anxiety. The Gothic narratives of the zombie now represent a more modern reaction to the threats posed in the 21st-century, post-9/11 world which is potentially more traumatic than the threats posed in earlier Gothic novels of the 19th and 20th century. Global pandemics may manifest as a zombie apocalypse or disease that threaten complete annihilation of civilisation. Teresa Goddu emphasises how “the Gothic is not a trans-historical, static category but a dynamic mode that undergoes historical changes when specific agents adopt and transform its conventions” (32). Zombie narratives have updated Gothic conventions to then reflect modern day anxieties and fears. As Botting argues, “Gothic figures” represent anxieties associated with turning points in cultural historical progress (2002). Zombie narratives, then, serve to allow a confrontation with more modern terrors and threats that exist; the zombie narrative, it can be argued, confronts Gothic tropes and places them in a contemporary context. Cultural anxieties have been nurtured about the rise in terrorist activity around the world, witnessed with the collapse of the World Trade Centre towers, and the threats of pandemics that might eviscerate the human race in the form of SARS. The zombie narrative then represents a logical growth in Gothic monsters that have been used to explore modern day cultural anxieties. Post-Apocalyptic America and Gothic Zombies Apocalypse and zombie narratives represent the worst case scenario for both the people of USA and the world. Zombies, vampires and other apocalyptic monsters are used as faceless creatures to present either an unknown threat or pose them as social critique (Bo). The first signs of the Gothic are present from the start of The Walking Dead, where the familiar American suburban scene has altered into a mutilated disintegrating version of society.  In the series, threat comes not just from the “walkers” but also from the fellow survivors who no longer obey the pre-apocalypse laws and way of life. Pre-apocalypse, Rick Grimes was a sheriff, and an upholder of the law. The series starts with Grimes in a police car having lunch with his best friend Shane Walsh while they discuss the differences between men and women. In a police shoot-out, Grimes is shot and awakens to find society as he knew it destroyed. After waking from his coma,  he returns to his family home and meets two other survivors, Morgan Jones and his son Duane, who explain the implications of the zombie apocalypse to him. Grimes searches for his family and returns to the police station. He puts on his uniform which appears as a symbol of the normality he thinks he can return to. However, as he goes to get petrol, Grimes looks under a car and sees a young girl’s pink slippers. He calls to her saying “don’t worry little girl”, as the girl drags a pink rabbit. She turns around to face Grimes and runs at him: it is revealed she is a zombie. She is a grotesque parody of a little girl with her distorted and mutilated face; as Grimes draws out his gun and shoots her in the face, she is an uncanny reminder that humanity has permanently altered. The narrative of adults and police officers protecting innocent children is quickly subverted from the start of the series. From this moment, Rick Grimes is permanently fighting his own loss of morality and humanity in a society that has become a distortion of what it once was. The term “liminality” is employed by critics and theorists of the Gothic to refer to spaces or bodies situated:either on or at the recognized borders or boundaries of subjective existence. In eighteenth-century Gothic writing, these thresholds were mainly encountered through liminal spaces. These were often mountain ranges, secret rooms, and hidden passages. From the nineteenth century onward, the human body has increasingly become a liminal site where normative boundaries are challenged; the monster, vampire, and werewolf, are all liminal beings. (Hughes, Punter and Smith)The zombies continues the Gothic tradition of liminality and is perhaps more frightening as they represent the dissolution of death, yet are still in some form “alive”. In The Walking Dead, the survivors are also neither completely alive nor dead, as they are on the edge of losing life as they know it and becoming consumed by the undead. The “walkers” operate as terrifying prompts that what was once considered an incontrovertible fact—the difference between life and death—is not as final in the post-apocalyptic world of the series. The “walkers”, therefore, are walking manifestations of decay and liminality, a reminder that the fear of death has been transmuted into the fear if an even more dangerous entity, neither living nor dead. Gothic, Misha Kavka argues, is often about fear, localised in the shape of something monstrous that electrifies the collective mind (Kavka). In this case, the zombies are tangible displays of how a pandemic or global outbreak could alter humanity forever. Gothic is also about the paranoia around body manipulation, defined as a projection of the self on to the outside world where the boundaries blur between self and other (Kavka). In the zombie narrative of The Walking Dead, the boundaries between the living and dead collapse when decay reanimates into the liminal form of the “walkers”.  Decay of the Family The death of the family unit as a recurring trope is raised early on in the series, and the initial problem for Rick Grimes is locating his missing family. Grimes teams up with Morgan Jones and his son Duane. Morgan has his own dilemma when faced with the thought of killing his wife who has turned into a “walker”. She returns to their family house, and seems caught between life and death as if she has some memory of the life she had before.  Rick Grimes’s family dilemma is further exacerbated when he finds his wife and son with other survivors who have formed a group. Thinking that her husband Rick was dead, Lori Grimes has started a relationship with Grimes’ best friend, fellow police officer Shane Walsh; a growing tension grows between the two men as the series continues. Ultimately this leads to a fight between the two men as the jealousy grows and each have different ideas on how to best keep the survivors safe. Where the men were once allies and friends, the apocalypse has turned them into enemies. Though the zombies are the most manifest threat to the survivors, there are other threats that come to the fore in The Walking Dead. These threats are in the form of the changes that occur between the characters (Bo).  What were once everyday events turns into dangerous events: getting water, petrol and food, for example, become life-threatening activities, and the survivors must trust people who they meet up with on their travels. Rick Grimes’ pre-apocalypse ethics and humanity are tested by the new society. For example, he allows his son Carl Grimes to carry a handgun which Carl later uses to save Rick’s life. In contrast to the Grimes family that is at the centre of the narrative, another group of survivors live at a farm and are led by Hershel Greene, a farmer and religious leader. Their treatment of the “walkers” represents a different approach to the zombie apocalypse.  Hershel keeps zombies in a barn and sees them as sick people, while Rick sees them as monsters. Many in the barn are Hershel’s family members; it is only later in the series that Hershel comes to see the zombie family as monsters intent on killing all human survivors. With the connections to family and love, the zombies act as a mirror to the human survivors of what they may potentially become. Societal Decay From the start The Walking Dead Rick Grimes needs to grapple with a world profoundly altered by the zombie apocalypse. The hospital is abandoned except for stray zombie corpses, and it is clear that the once secure place of the hospital is no longer a haven for the sick. One of the most obvious signs of decay is the streets littered with abandoned vehicles, and there are outward markers of chaos and apocalypse.  There is much that is Gothic and uncanny in The Walking Dead, where cognitive dissonance is opened up when the familiar becomes strange. The world ostensibly looks the same but will never be normal again for Rick Grimes and the survivors. Here the “true horror lies in that which is most immediately at hand that the most proximal bears the capacity to contain the utterly unfamiliar” (Chopra). The decay of society is made both manifest and melancholic as it evokes the anxiety of being simultaneously normal and abnormal. The once known, or normal, world has become strange and unfamiliar. For example, in the first series of The Walking Dead  there is a reference to the classic zombie horror film Dawn of the Dead (1978), where the survivors find themselves trapped in a department store, a famous scene commented upon by Bishop:This instinctual “drive to shop,” as it were, is repeatedly emphasized by Romero, who shows the mindless creatures pressed up against glass doors and windows, clamouring to get inside the shops, in a gross parody of early-morning-sale shoppers, to resume their earthly activities of gluttonous consumption—indeed, as Kim Paffenroth points out, their addiction for the place exists beyond death. (Bishop 41) As the maniacal governor in The Walking Dead later observes about the zombies: “The thing you have to realize is that they’re just us—they’re no different. They want what they want, they take what they want and after they get what they want—they’re only content for the briefest span of time. Then they want more” (Bishop 140). The zombies then serve as a mirror for the worst of humanity. Zombies further mirror other aspects of humanity that are hidden and ignored.  Barbara Creed suggests that the popular horror film brings about a confrontation with the abject (the corpse, bodily wastes, and the monstrous-feminine), and by doing so re-draws the boundaries between the human and non-human (Creed). She argues:Firstly, the horror film abounds in images of abjection, foremost of which is the corpse, whole and mutilated, followed by an array of bodily wastes such as blood, vomit, saliva, tears and putrefying flesh. (Creed 253)The zombies/”walkers” in The Walking Dead are abject, mutilated walking corpses. Creed argues that the blurred boundaries between life and death, and the antinomies that humans like to ignore or pretend do not exist, are seen in creatures like zombies. Abjection is usually represented by bodily fluids such as pus or blood or a kind of in-betweenness, such as the zombies’ state between life and death. Mark Bould and Sherryl Vint argue that apocalyptic fiction uses the scenario of the end of the world as a way to rebuild and reorganise society (23). The very question of possible futures and society in a post-apocalyptic world is raised and questioned in The Walking Dead when everyday survival is at stake. This alters, however, when Rick Grimes has to focus on the long-term survival of the group and his family when his wife becomes pregnant. Lori Grimes argues that the world they find themselves in is no place to raise a child and to establish new lives.  Rick does not agree with Lori and her pessimistic view of society as it stands. In an uncanny twist, the survivors do not know what has caused the apocalypse, but they later learn that everyone is infected and will re-animate when dead: they are the “walking dead”.Conclusion The Walking Dead is a modern Gothic text that uses many of the tropes of the Gothic to explore cultural anxieties present today. One such area is that of decay, chaos and lawlessness in the post-apocalyptic world of the zombie. This is a key area of the Gothic tradition played out in the modern afflicted world. At the start of The Walking Dead, society is seen as “normal”,  two police officers are eating lunch in their vehicle and talking about life. After Rick Grimes awakens after his coma what was once “normal” has transformed into a site of uncanny horror, suspense and terror. Much of the first series is spent with Grimes and his survivors trying to contain and combat the zombie threat.  Botting argues that early Gothic fiction articulated a shift from a feudal economy to a capitalistic one (2008). In similar vein, in The Walking Dead the future is one where capitalist society has totally collapsed. This could be a critique of the 2008 financial crash, or a fear of what could happen if a pandemic were to occur that ended consumer life and society as it is known (Bishop 41).  It also demonstrates that what is seen as established norms quickly disintegrate in the new post-apocalyptic society.    Social structures in the post-apocalyptic world no longer function as they once did. The normality of a pregnancy which should, under “normal” circumstances, herald hope for the future, sets off ambivalence in the Grimes family about the life circumstances the survivors find themselves in, and the future that is available to them or their offspring. Core institutions and structures have fallen; the hospital at the start of the series no longer functions and the police are no longer upholders of the law.  Chaos and anarchy are now the everyday life that confronts the survivors. The survivors are frequently left with questions about what is the point is of their lives. At the centre of the chaos is the change in family and society. The structures of modern society are seen as flimsy and easily disturbed in the post-apocalyptic zombie future.  As Botting says, “uncertainties about the nature of power, law, society, family and sexuality dominate Gothic fiction” (Gothic 3).  The modern day Gothic then questions these key areas of society. The death in the Gothic post-apocalyptic zombie future is that of society as well as individuals. References Bishop, Kyle William. American Zombie Gothic: The Rise and Fall (and Rise) of the Walking Dead in Popular Culture. Jefferson: McFarland Company, 2010.  Bo, Kristian. Surviving the End. Thesis. University of Tromso, 2013. Botting, Fred. “Aftergothic: Consumption,Machines, and Black Holes.” In Hogle, The Cambridge Companion to Gothic Fiction.   ———. The Gothic. London: Routledge. 1995. ———. Limits of Horror: Technology, Bodies, Gothic. New York: Manchester University Press, 2008. ———. “Science Fiction and Film in Gothic.” London: Routledge. 2005.  Bould, Mark, and Sherryl Vint. The Routledge Concise History of Science Fiction. New York: Routledge, 2011.  Creed, Barbara. “Horror and the Monstrous-Feminine: An Imaginary Abjection.” Feminist Film Theory: A Reader. Ed. Sue Thornham. New York: New York University Press, 1999.  Chopra, Samir. “American Horror Story, The Walking Dead, and the American Gothic”. samirchopra.com, 2014. Goddu, Teresa A. Gothic America: Narrative, History, and Nation. New York: Columbia University Press, 1997.  Hughes, William, David Punter and Andrew Smith. The Encyclopaedia of the Gothic. London: Wiley, 2014. Kavka, M. “The Gothic on Screen.” The Cambridge Companion to Gothic Fiction, ed. C. Jerold Hogle. Cambridge: Cambridge University Press, 2002. Overbey, Erin. “The Walking Dead Returns”. The New Yorker, 2012.  The Walking Dead, Frank Darabont. AMC, 2010. DVD.}, language = {en}, number = {4}, urldate = {2016-09-22}, journal = {M/C Journal}, author = {Baker, Sarah}, month = jul, year = {2014} }