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186
Barbara was “a parody of female passivity and helplessness,” Fran begins Dawn of the
Dead “thoroughly complicit in the established structures of heterosexuality, then learns
gradually to assert herself and extricate herself from them.”98 With Sarah in Day of the
Dead, “the woman had become, quite unambiguously, the positive center around whom
the entire film is structured.”99 Sarah is a scientist and often the most rational person at
the compound where she lives. While Wood sees the film as capturing “the hysteria of
contemporary masculinity” in an era full of Rockys and Rambos, this shift toward a more
rational, empowered female heroine in zombie films also seems to accompany a re-inscription
of the zombie as more sympathetic.100
To be sure, there were and continue to be those zombies that exist only to hunt
and kill the living, but by the 1980s, two other trends were also visible: there was a rise in
the number of comic zombies and sympathetic zombies. A string of several films starting
in the early 1980s played zombies for laughs,101 while films like Creepshow (1982), Day
of the Dead, The Serpent and the Rainbow (1988), Land of the Dead (2005), and Fido
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
98 Wood, 292.
99 Wood, 292.
100 Of course, this “shift” belies a tremendous amount of continuity in that the empowered heroines of the
Romero-style films and the “victims” of the voodoo-style films both exist in worlds where white women
are key—the center of femininity is white, and any other kind of femininity disappears. Yet, as we will
later see, black femininity does play a role in both styles.
101 Including The Return of the Living Dead (1985) and its sequels, Redneck Zombies (1987), I was a
Zombie for the F.B.I (1982), I was a Teenage Zombie (1986), Dead Heat (1988), and continuing into the
1990s and 2000s, Nudist Colony of the Dead (1991), Weekend at Bernie’s 2 (1993), Pirates of the
Caribbean: Curse of the Black Pearl (2003), as well as episodes of the television series South Park, Buffy
the Vampire Slayer, and The X-Files.
Object Description
| Title | And the dead shall walk the earth: Zombies and the politics of death |
| Author | Kee, Chera Dezarae |
| Author email | ckee@usc.edu; ckee211@gmail.com |
| Degree | Doctor of Philosophy |
| Document type | Dissertation |
| Degree program | Cinema-Television (Cinema Critical Studies) |
| School | School of Cinematic Arts |
| Date defended/completed | 2011-03-08 |
| Date submitted | 2011 |
| Restricted until | Unrestricted |
| Date published | 2011-05-04 |
| Advisor (committee chair) | Marez, Curtis |
| Advisor (committee member) |
Kinder, Marsha Hoskins, Janet |
| Abstract | In October 2009, five pale, blood-stained teenagers sat on a curb in Newhall, California. They were not crime victims nor movie extras. Rather, these teens were “zombies,” waiting to participate in a Zombie Walk. These events, where groups of people dressed as zombies lumber through the streets, have been happening globally since 2001 and entice up to several thousand participants for each walk. Zombies are familiar characters in comic books, video games, television and film, but with thousands of people dressing as zombies and taking to the streets, it becomes clear that the kinds of work zombies do in U.S. culture provides insight into how we approach death, try to diffuse its potency, and use it to make political interventions into everyday life. Zombies are critical repositories of social fears and desires related to capitalist wage slavery, race, gender, and the political power of the masses, and as such, they demonstrate how representations and performances of death, in widely different forms, have served remarkably consistent functions in the United States throughout the past two centuries.; This project seeks to show that the zombie, as a creature of both/and—both slave and master, both living and dead, both black and white—is often positioned as that which invades the normative space of the living, a space that is generally conceived of in terms of whiteness, patriarchy, and heterosexuality. In forcing those who exist in this space to face a being who can encompasses both their ideals and that which their society rejects, the zombie can be used to try to support heteronormative ideals and the status quo while also undercutting those same ideals—often within the same text.; Chapter one provides a survey of zombie scholarship and describes the history of the figure in U.S. popular culture. Chapter two places zombies in their historical context, considering their ties to Vodou belief and U.S-Haitian relations. Examining travelogues, magazine articles, and official documents about Haiti circulating in the United States in the late 19th and early 20th centuries, the zombie is identified as one in a long line of figures used in debates surrounding dependent territories, self-rule, and the limits of U.S. democracy. Early film zombies thus come to symbolize the paradoxes of capitalist democracy in the United States and as such, offer a potentially liberating imaginative escape from dominant systems. However, this idealistic feature of zombies is restricted by racism in early zombie films.; Chapter three considers how the zombie state in film is marked by race and gender, arguing that while the zombie can be terrifying, it also presents a fantasy of escape from white, heteronormative patriarchy. This fantasy state is often racialized, positioning blackness as more attractive than normative whiteness, and female characters frequently offer a point of identification with it. Many zombie films are therefore sites for staging conflicts over non-heteronormative desires, both promoting and punishing the transgressive and non-normative, often within the same text.; The fourth chapter considers the connection between the spectator’s relationship to images of death in 19th century presentations, like phantasmagoria shows and séances, to that same relationship in contemporary zombie video games. Arguing that certain visual technologies can encourage a sort of doubling of consciousness that empowers spectators/players, this chapter maintains that this empowerment, when placed in the context of representations of the dead-come-back-to life, allows spectators/players to enact desires that show death not as final, but as something that can be transcended, which ultimately robs the zombie of some of its inherent political potential.; The fifth chapter examines Zombie Walks. These events present a contemporary example of death being introduced into the world of the living to unsettle assumptions of how public space should be used. Public performances of zombiness disrupt the normative capitalist expectations of the spaces in which “zombies” walk while simultaneously allowing walkers to reject Western beauty ideals by dressing up as rotting, ugly corpses. In this way, zombie walkers offer an important example of the contemporary carnivalesque.; The final chapter of this project illustrates that while the zombie can stand as something that is both comforting and threatening, in either guise, it carries with it the potential of another way of imagining human society, and as such, it can represent the aspirations of any who feel that they are made over as slaves, cannibals, the infected, or the abject by their society’s standards. Thus, often, in the form of the zombie, death is not only made attractive in U.S. popular culture, it is made politically useful as well. |
| Keyword | zombies in film; zombie video games; Zombie Walks; voodoo in film; U.S./Haiti relations; race in film; gender in film; phantasmagoria; spiritualist phenomena; zombies and the carnivalesque |
| Geographic subject (country) | USA |
| Coverage date | 2001/2010 |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m3808 |
| Contributing entity | University of Southern California |
| Rights | Kee, Chera Dezarae |
| Repository name | Libraries, University of Southern California |
| Repository address | Los Angeles, California |
| Repository email | cisadmin@lib.usc.edu |
| Filename | etd-Kee-4414 |
| Archival file | uscthesesreloadpub_Volume51/etd-Kee-4414.pdf |
Description
| Title | Page 197 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 186 Barbara was “a parody of female passivity and helplessness,” Fran begins Dawn of the Dead “thoroughly complicit in the established structures of heterosexuality, then learns gradually to assert herself and extricate herself from them.”98 With Sarah in Day of the Dead, “the woman had become, quite unambiguously, the positive center around whom the entire film is structured.”99 Sarah is a scientist and often the most rational person at the compound where she lives. While Wood sees the film as capturing “the hysteria of contemporary masculinity” in an era full of Rockys and Rambos, this shift toward a more rational, empowered female heroine in zombie films also seems to accompany a re-inscription of the zombie as more sympathetic.100 To be sure, there were and continue to be those zombies that exist only to hunt and kill the living, but by the 1980s, two other trends were also visible: there was a rise in the number of comic zombies and sympathetic zombies. A string of several films starting in the early 1980s played zombies for laughs,101 while films like Creepshow (1982), Day of the Dead, The Serpent and the Rainbow (1988), Land of the Dead (2005), and Fido !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 98 Wood, 292. 99 Wood, 292. 100 Of course, this “shift” belies a tremendous amount of continuity in that the empowered heroines of the Romero-style films and the “victims” of the voodoo-style films both exist in worlds where white women are key—the center of femininity is white, and any other kind of femininity disappears. Yet, as we will later see, black femininity does play a role in both styles. 101 Including The Return of the Living Dead (1985) and its sequels, Redneck Zombies (1987), I was a Zombie for the F.B.I (1982), I was a Teenage Zombie (1986), Dead Heat (1988), and continuing into the 1990s and 2000s, Nudist Colony of the Dead (1991), Weekend at Bernie’s 2 (1993), Pirates of the Caribbean: Curse of the Black Pearl (2003), as well as episodes of the television series South Park, Buffy the Vampire Slayer, and The X-Files. |
