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324
marriage) but through magic or infection. Furthermore, the bodies produced are not the
highly-disciplined bodies the state idealizes—they are unhealthy and decomposing, and
they do not work to the benefit of the state; they are, in essence, anti-bodies.52
These bodies are offering up a sort of parody of biopower as it is put forward by
Michel Foucault: as the modern state is concerned with the production/reproduction of
life, zombie bodies are the nightmare of the system. They are the literal production and
reproduction of death, and in many contemporary zombie texts, it is the state or corporate
interests that produce them.53 The control afforded the state when it can produce and
control healthy living bodies is shown to be absurd when production creates decomposing
zombie bodies. Moreover, as zombiism is an infection that affects any and all living
bodies, the healthy bodies produced via the state’s biopower are revealed to hold the
seeds of the destruction of the orderly system put in place by their production in the first
place. In performing this type of body, walkers may not be overly contesting the
biopolitical engines that produce ideal citizen-subjects, but they are, in a sense, rejecting
the youth/beauty culture so prevalent in the contemporary West. Wearing zombiness,
and celebrating it, is a way not only to actively resist those discourses that would make
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
52 An argument could be made that zombie walkers are participating in the valorization of the highly-commodified
body by choosing to dress like a media figure, but this argument breaks down in the sense
that this figure, in the Romero-style form preferred in most walks, draws attention to consumption in rather
overt ways and presents not a youthful, sexy image but one of decay.
53 See discussions of this as it relates to video game-style texts in Chapter One and Chapter Four and
voodoo-style texts in Chapter Two.
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 335 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 324 marriage) but through magic or infection. Furthermore, the bodies produced are not the highly-disciplined bodies the state idealizes—they are unhealthy and decomposing, and they do not work to the benefit of the state; they are, in essence, anti-bodies.52 These bodies are offering up a sort of parody of biopower as it is put forward by Michel Foucault: as the modern state is concerned with the production/reproduction of life, zombie bodies are the nightmare of the system. They are the literal production and reproduction of death, and in many contemporary zombie texts, it is the state or corporate interests that produce them.53 The control afforded the state when it can produce and control healthy living bodies is shown to be absurd when production creates decomposing zombie bodies. Moreover, as zombiism is an infection that affects any and all living bodies, the healthy bodies produced via the state’s biopower are revealed to hold the seeds of the destruction of the orderly system put in place by their production in the first place. In performing this type of body, walkers may not be overly contesting the biopolitical engines that produce ideal citizen-subjects, but they are, in a sense, rejecting the youth/beauty culture so prevalent in the contemporary West. Wearing zombiness, and celebrating it, is a way not only to actively resist those discourses that would make !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 52 An argument could be made that zombie walkers are participating in the valorization of the highly-commodified body by choosing to dress like a media figure, but this argument breaks down in the sense that this figure, in the Romero-style form preferred in most walks, draws attention to consumption in rather overt ways and presents not a youthful, sexy image but one of decay. 53 See discussions of this as it relates to video game-style texts in Chapter One and Chapter Four and voodoo-style texts in Chapter Two. |
