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.
This chapter presents analyses of textual dislocations and oral transformations of gothic narratives within a Canadian diasporic novel, David Chariandy's Soucouyant, which employs transnational gothic tropes from the vampire to the soucouyant. The globalgothic of Soucouyant attempts to circumvent the fears and anxieties of a breakdown in local communities and personal subjectivity. The diasporic shifts in boundaries and the migratory flights found in Soucouyant invoke a politics of location that disrupts points of order and invades the strongholds of reason. In the narrator's description of the soucouyant, skin plays a central role. Soucouyant moves fluidly from spirit possession and vampirism to the suffering caused by the overdetermined signifier known as presenile dementia. By linking such figures to the degenerative illness, Chariandy is primarily interested in an incapacitating state of unbecoming.
Globalisation has led to a new way of thinking about gothic production: globalgothic. The global market of signs, images and commodities energises globalgothic interactions. As a result globalgothic operates as a locus, frequently an obscure locus, of world exchanges, and also points to the context in which messages, meanings, responses and reactions take shape. Globalgothic asks vital questions about the decentring of power. For while it can be packaged, marketed and sold, globalgothic can also reveal the terrors of global terrorism or how oppositional movements might challenge the powerful hegemonic discourses of free market, neo-liberal ideologies. Seen from a globalgothic perspective the use of haunting in postcolonial theory reflects a suspended condition, in-between. This is indicative of an era hovering between the traces of a defeated colonial history and vague transnational structures of hierarchy and subjugation.