scholarly journals Metáforas sociales del zombi romeriano

2021 ◽  
pp. 517-528
Author(s):  
Leonardo Xavier Brito Alvarado ◽  
Daniela Segovia Velastegui
Keyword(s):  
George Romero

El tsunami zombi arrasa, películas, series, novelas, videojuegos, incluso las protestas sociales se han convertido en espacios zombis. Esta figura posee argumentos conceptuales que permiten visualizarlos como referentes metafóricos, para diversas dinámicas sociales De las primeras películas, que reflejaban una crítica al racismo cultural en América, donde se mostraba a esta figura como parte de las leyendas africanas asentadas en Haití, en que prevalecía los rituales del vudú, alejados de la modernidad occidental, hasta los zombis de George Romero que trazan debates sociales complejos, alejándolos de las ideas de prácticas de brujería y colocándolos más cerca de los relatos científicos; los zombis son los monstruos contemporáneos más importantes, porque representa un espejo desde nos proyectamos frente un apocalipsis total. Bajo estas ideas, este ensayo recorre, brevemente, el cine zombi desde sus inicios de la década de los treinta hasta ubicarlo en las producciones de George Romero quien dio las pautas, para ubicar a esta figura en los debates sociales, y de ahí proyectarlo como un imaginario de nuestros tiempos.

scholarly journals Los muertos vivos como figuración literaria y política de lo excluido que retorna. El género zombi en la narrativa argentina posterior a la crisis del 2001

2020 ◽  
pp. 23-40
Author(s):  
Alicia Montes
Keyword(s):  
George Romero

Desde la fundación del género, en los filmes de George Romero (1968), la figura espectral, monstruosa y masiva de los zombis se ha hecho depositaria de aquellos significados que las diferentes coyunturas históricas han posibilitado, tanto desde el punto de vista de la producción como de la recepción. En la actualidad, los muertos vivos de las ficciones contemporáneas figuran a modo de imagen dialéctica, tensionada por el disenso, los efectos de las políticas inmunitarias sobre la vida de aquellos que la sociedad, para autopreservarse y constituirse como un todo idéntico a sí mismo, margina o estigmatiza por considerarlos peligrosos, contaminantes o desechables. En este sentido, los zombis de las narraciones literarias, gráficas y audiovisuales actuales nos interpelan. Abren el espacio de una interrogación que pone en cuestión la biopolítica que rige la vida y el retorno de lo reprimido con la forma de lo monstruoso amenazante. Las ficciones de muertos vivos emergen en la narrativa argentina de las primeras décadas del año 2000 y sus relatos replican, complejizan y ponen en crisis la matriz del género que se había cristalizado en la cultura de masas, aún en sus numerosas autoparodias. En efecto, el carácter proliferante, no lineal e irónico del discurso narrativo, atravesado por el dispositivo neobarroco de la repetición con variaciones fractales, agrega una nueva voluta al género y lo renueva explotando su potencial político en el espacio imaginario que se construye a partir de la coyuntura del 2001.

Petrification and Petroleum

Film Studies ◽  
2019 ◽  
Vol 21 (1) ◽  
pp. 38-52
Author(s):  
Chuck Jackson
Keyword(s):  
The Body ◽  
Horror Films ◽  
Living Dead ◽  
George Romero ◽  
Oil Crisis

Invasion of the Body Snatchers (dir. Don Siegel, 1956), The Birds (dir. Alfred Hitchcock, 1963), and Night of the Living Dead (dir. George Romero, 1968) imbue scenes that take place at a gas pump with a horror so intense, it petrifies. As three of the earliest American horror films to feature a monstrous exchange at the pump, they transform the genre by reimagining automotive affect. This article examines the cinematic mood created when petrification meets petroleum, providing an alternative look at American oil culture after 1956, but before the oil crisis of 1973.

A New World of Blood and Monsters: Creepshow, Gore and Violence

Creepshow ◽  
2019 ◽  
pp. 71-80
Author(s):  
Simon Brown
Keyword(s):  
New World ◽  
Horror Films ◽  
Breaking Point ◽  
Horror Genre ◽  
George Romero ◽  
The Dead ◽  
The Moment ◽  
Creative Team

This chapter evaluates Creepshow's use of gore and horror make-up effects (HFX) as developed and practiced by Tom Savini and George A. Romero. It locates the film within the context of the cinematic horror genre in the early 1980s. EC's horror comics did not shy away from the frank illustration of bodily mutilation and oozing, decaying corpses, but what they did tend to shun was explicit blood-letting and the detailed depiction of the moment of death. If the tradition of EC in representing the moment of death and the process of mutilation tended towards restraint, then Creepshow appeared at a time in cinema when the opposite was happening, and the boundaries of what both could and should be seen in horror films were being pushed to breaking point. What makes Creepshow particularly relevant in relation to this movement is that two thirds of its main creative team, director George Romero and make-up effects supervisor Tom Savini, had previously played a major role in opening the floodgates of what was acceptable in terms of the detailed depiction of explicit horror with Dawn of the Dead (1978).

Craven Images: The Road to Scream

Scream ◽  
2019 ◽  
pp. 25-42
Author(s):  
Steven West
Keyword(s):  
The Road ◽  
Living Dead ◽  
George Romero

This chapter cites Peter Hutchings, who defines post-1972 American horror cinema as marking the advent of the horror-auteur director, believing horror to be the only genre that acquired its own 'customised movie-brats'. It talks about how Hutchings distinguishes the rising collective of horror 'brats' from the often-overlooked inadvertent 'specialists' as they were 'wholeheartedly committed to the genre as a suitable vehicle for the expression of ideas. It also talks about George Romero, who was universally acknowledged as the first of the 'brats' following his 1968 debut Night of the Living Dead. This chapter describes the marketing of Wes Craven's Scream that had to play to the strength of his core audience. It recounts how Craven as a veteran horror filmmaker cut together early footage of Scream as evidence that the complex tonal-combination was viable.

scholarly journals Impermanência Entusiasta: A Noite dos Mortos-Vivos e o espírito de 1968

2018 ◽  
Vol 21 (1) ◽  
pp. 185
Author(s):  
Lucio Reis Filho ◽  
Alfredo Suppia
Keyword(s):  
Living Dead ◽  
George Romero

<p>Propomos analisar A Noite dos Mortos-Vivos (Night of the Living Dead, 1968), do cineasta norte-americano George Romero, enquanto representação cinemática do intricado momento histórico em que foi produzido. O filme de Romero surge no fatídico ano de 1968, que marca o fim do sonho de uma geração. Portanto, será observado enquanto manifesto da contracultura por sua crítica anti-establishment, que denuncia o esfacelamento da sociedade civil, o desmembramento das instituições, a desarticulação do poder instituído e a ineficácia dos meios de comunicação. Dialogando com uma geração que vive à sombra de uma guerra iminente, revela também os medos e tensões atinentes à era atômica.<strong></strong></p>

Appetite for Disruption

2016 ◽  
Author(s):  
Rasmus R. Simonsen
Keyword(s):  
Aids Epidemic ◽  
George Romero

Tracing the elaboration of the zombie in modern cinema—from George Romero through Bruce LaBruce—this chapter argues for a queer reading of the zombie as challenging the hetero-centrist structure of reproductive futurity that Lee Edelman outlined in his 2004 book No Future. The chapter exploits the uncertain ontology of the zombie (being neither dead nor alive) to make the point that, like “queer,” zombie-ness connotes a certain sense of transversality; zombies cut (or gnaw, rather) through definitions of various kinds with each bloody contact. The zombie virus is transported from wound to wound, and the visceral instantiation of the queer zombies in this chapter reaches an apex when the cinematic wound of zombie cinema intersects, flows into, the traumatic reality of the AIDS epidemic, as is shown in the analysis of LaBruce’sOtto; or, Up with Dead People.

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