As its title suggests, Danny Boyle‘s 28 Days Later is a zombie movie about procreation. While this idea – a human menstrual cycle alluding to the multiplication of the undead – may seem at first to be paradoxical, such an idea is hardly a new one in zombie mythology. Boyle‘s film borrows from the traditional Gothic through a number of standard Gothic tropes in order to define the character of the films female protagonist as one necessary for her biological or reproductive role and to ward off possible domestic chaos and invasion through her role as mother. The film acknowledges an idea of woman as objectified and violated in both a postfeminist, but strangely also traditionally Gothic definition of woman as sex object and mother who is necessary for this biological, reproductive role as well as her identity, not as survivor, but as domestic caretaker.
Many vampires in popular fiction have developed a conscience that mitigates their monstrosity and makes them objects of human love and admiration. With the advent of the reformed vampire, Western culture has, perhaps, lost an icon of true horror. As the vampire has become increasingly humanized and sympathetic, the zombie has stepped up to take its place. Zombies remind us that we will soon be decomposing flesh; the zombie horde embodies fear of loss of self and individuality; zombies expose the dark side of mass consumer culture; and zombies highlight the fragility of human identity in an advanced, globalised society.
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 novels of L. M. Montgomery‘s Emily trilogy belong to the genre of domestic fiction, but they are punctuated by uncanny events, by excursions into a Gothic mode where the girl‘s smooth transition from rebellious child to compliant adult is disrupted. This paper is an investigation of Montgomerys use of Gothic tropes in the second novel of the trilogy, Emily Climbs (1925); in particular, this essay analyses the chapter entitled ‘In the Watches of the Night’, a chapter that is exemplary of Montgomery‘s use of the Gothic mode to disrupt the disciplinary system that enjoins the adolescent girl to situate her desires in the home. The chapter is permeated by Montgomery‘s reading in abnormal psychology, particularly by F. W. H. Myerss Human Personality and Its Survival of Bodily Death (1903), a work that lends a scientific veneer to Montgomerys Gothicism with its account of what ‘hearing voices’ means. In an extravagantly gothic metaphor, Slavoj Zizek claims that the ‘life of a voice’ is ‘the uncanny life of an undead monster, not the “healthy” living self-presence of meaning’ (103). Montgomery‘s text arguably excavates a moment which reveals both the speaking subject and the ideology which disciplines it to be marked by the uncanny, by that which undermines ‘the “healthy” living self-presence of meaning’.
Interviewing can be a vampiric act especially when it involves leeching from its subject the fluidic exchange which exists between life and art. The vampire novelist Anne Rice had agreed to let me interview her at Waterstones Bookshop in Bristol, England, on 26 January 1993 about the fourth book in her Vampire Chronicles, The Tale of the Body Thief (1992). In the interview she describes the novel as dealing with the differences between art and life and mortality and immortality. Specifically, the story examines the paradox of choosing to be Undead for the sake of life, and the way in which art opens up a locus for a redemption that is outside of life. In my view, the text is as much about the process of interviewing as about authorship. A more obvious example is Rice‘s well-known novel Interview with the Vampire (1976) in which the hapless interviewer eventually enters into the very narrative he is recording by becoming another Ricean revenant.
, mourning, revenge, luxury, vice, murder, and hell to argue that even though the nobility is ‘dead’, it is still ‘preying’ on others. Burke notably identifies his opponents with the cannibalistic undead in Reflections on the Revolution in France (1790), the work to which Wollstonecraft is responding. His prophecy of a French regicide paints the revolutionaries’ ‘cannibal
The gothic and death is the first ever published study to investigate how the multifarious strands of the Gothic and the concepts of death, dying, mourning, and memorialization – what the Editor broadly refers to as "the Death Question" – have intersected and been configured cross-culturally to diverse ends from the mid-eighteenth century to the present day. Drawing on recent scholarship in Gothic Studies, film theory, Women’s and Gender Studies, and Thanatology Studies, to which fields it seeks to make a valuable contribution, this interdisciplinary collection of fifteen essays by international scholars considers the Gothic’s engagement, by way of its unique necropolitics and necropoetics, with death’s challenges to all systems of meaning, and its relationship to the culturally contingent concepts of memento mori, subjectivity, spectrality, and corporeal transcendence. Attentive to our defamiliarization with death since the advent of enlightened modernity and the death-related anxieties engendered by that transition, The gothic and death combines detailed attention to socio-historical and cultural contexts with rigorous close readings of artistic, literary, televisual, and cinematic works. This surprisingly underexplored area of enquiry is considered by way of such popular and uncanny figures as corpses, ghosts, zombies, and vampires, and across various cultural and literary forms as Graveyard Poetry, Romantic poetry, Victorian literature, nineteenth-century Italian and Russian literature, Anglo-American film and television, contemporary Young Adult fiction, Bollywood film noir, and new media technologies that complicate our ideas of mourning, haunting, and the "afterlife" of the self.
melancholia and its obsession with the undead’, as Peter Walmsley aptly characterises it, partook of ‘a tradition of nationalist discourse about death’ that became pronounced in the late eighteenth century ( 2009 : 53). Recognition of the prevalence of what I have elsewhere called the Gothic’s necropoetics – comprised of death-focused symbols and tropes such as spectrality
the old methods of literary art. We shall have to adapt ourselves to the shadowy screen and to the cold machine.’ Tolstoy further characterised cinema as a unique and uncanny medium that was, in his words, ‘closer to life’ than literature, yet eerily capable of rendering its living subjects ‘undead’ (Starr, 1972 : 32). Thus was this realistic medium, this ‘cold machine’ born