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.
The military coup of March 1976 in Argentina ruptured the prevailing institutional order,
with the greater part of its repressive strategy built on clandestine practices and
tactics (death, torture and disappearance) that sowed fear across large swathes of
Argentine society. Simultaneously, the terrorist state established a parallel, de facto
legal order through which it endeavoured to legitimise its actions. Among other social
forces, the judicial branch played a pivotal role in this project of legitimisation. While
conscious of the fact that many of those inside the justice system were also targets of
oppression, I would like to argue that the dictatorship‘s approach was not to establish a
new judicial authority but, rather, to build upon the existing institutional structure,
remodelling it to suit its own interests and objectives. Based on an analysis of the
criminal and administrative proceedings that together were known as the Case of the
judicial morgue, this article aims to examine the ways in which the bodies of the
detained-disappeared that entered the morgue during the dictatorship were handled, as well
as the rationales and practices of the doctors and other employees who played a part in
this process. Finally, it aims to reflect upon the traces left by judicial and
administrative bureaucratic structures in relation to the crimes committed by the
dictatorship, and on the legal strategies adopted by lawyers and the families of the
Carter‘s fiction sits uneasily in relation to both Gothic and feminist discourses, especially as they converge through the category of the ‘female Gothic’. Owing to her interest in pornography and her engagement with the sexual/textual violence of specifically ‘male Gothic’ scripts – for example, the Gothic scenarios of Sade, Poe, Hoffmann, Baudelaire and Stoker – Carter‘s Gothic heroines have frequently been censured as little more than objects of sadistic male desires by feminist critics. This article re-reads Carter‘s sexual/textual violations – her defiance of dominant feminist and Gothic categories and categorisations – through the problematic of (post-)feminist discourse and, especially, the tension between ‘victim’ and ‘power’ feminisms as prefigured in her own (Gothic) treatise on female sexual identity, The Sadeian Woman (1979). Mapping the trajectory of her Gothic heroine from Ghislaine in Shadow Dance (1966) to Fevvers in Nights at the Circus (1984), it re-contextualises Carters engagements with the Gothic as a dialogue with both the female Gothic and feminist discourse.
Post-9/11 Horror and the Gothic Clash of Civilisations
Kevin J. Wetmore
Twentieth century cinema involving monster conflict featured solitary monsters in combat (Frankenstein Meets the Wolf Man, for example). The writing of Anne Rice and the RPG Vampire: The Masquerade by White Wolf Games introduced the idea of Gothic communities and civilisations in conflict. It was not until after the terror attacks of 11 September that the idea of a clash of civilisations between supernatural societies fully emerged into the mainstream of popular culture. This essay explores the construction of a clash of civilisations between supernatural communities as a form of using the Gothic as a metaphor for contemporary terrorism in film and television series such as Underworld, Twilight, True Blood and The Vampire Diaries. Inevitably, it is the lycanthropes that are the disempowered and disenfranchised society and are alternately exploited by and rebel against the dominant vampire civilisation grown decadent and on the verge of collapse. Post-9/11 Gothic posits a world in which vampire society is the new normal, and werewolves represent a hidden danger within. Lycanthropes must be controlled, profiled and/or fought and defeated. Through close readings of the cinematic and televisual texts, I explore the vampire/werewolf clash as metaphor and metonym for the war on terror.
This article examines the post-millennial popularity of the found footage movie, in particular its engagement with the representational codes of non-fiction media. Whilst the majority of critical writings on found footage identify the 11 September attacks on the World Trade Centre as a key visual referent, they too often dwell on the literal re-enactment of the event. This article instead suggests that these films evoke fear by mimicking the aesthetic and formal properties of both mainstream news coverage and amateur recording. As such they create both ontological and epistemological confusion as to the reality of the events depicted. Rather than merely replicating the imagery of terror/ism, these films achieve their terrifying effects by mimicking the audiences media spectatorship of such crisis.
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.
smugglers controlling the migrant trade. ( Hopkins, 2017 )
For evidence of this claim, Hopkins repeated the details of both the incident
mentioned by the December 2016 confidential Frontex report, and copy-pasted
directly, maps and graphs included, from the report by Gefira (2016a) about the October 2016 rescue. She then
turned to themes of criminality, terrorism and the threat of swamping:
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Key Entry Points for Action’ ( London :
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