Think of the readings as lenses through which to look in order to analyze these films.
Your initial post should be at least 500 words;
Respond to at least two of your classmates’ posts by midnight Sunday, October 24. This should be a substantive response. I.e., more than a simple ‘good post’ kind of comment.
In \u201cSlacker Bites Back,\u201d Lynn Pifer tells us that In Shaun of the Dead, \u201cPegg and Write take an existing cultural monster, the zombie\u2026 and show that these horrible monsters are not all that different from the people desperately trying to avoid or kill them.\u201d She suggests that \u201cShaun of the Dead\u2019s zombies reveal and warn against the deadening effects of modern life.\u201d
How do these ideas play out in that film, and in any other in this unit?
Cohen, in \u201cPlans are Pointless\u201d suggests that \u201cZombies can and will be not only a distinct social class with their own culture and identity, but a group whose political survival further threatens the fabric of our lives.\u201d
How do you see this concept applying to the film Fido and in any other film in this unit?
Douglas Keesey, in \u201cIntertwinings of death and desire in Michele Soavi\u2019s Dellamore Dellamore [Cemetery Man], tells us that \u201cthe film is a study in the subtle relations between death and desire, the carnal and the charnel.\u201d
Discuss this idea. Bring in examples from at least one other film we\u2019ve seen in class.
Steve Shaviro suggests that \u201cour preoccupation with the zombie originates out of the zombie\u2019s relationship with contemporary global capitalism\u201d and that \u201c\u2026 zombies present the \u2018human face\u2019 of capitalist monstrosity\u2026 because they are the dregs of humanity: the zombie is all that remains of \u2018human nature,\u2019 or even simply of a human scale, in the immense and unimaginably complex network economy.\u201d
Does this idea play out in zombie comedies as much, or more than, in zombie horror? <\/p>\n","protected":false},"excerpt":{"rendered":"
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