American zombie Gothic films have changed markedly in their tone, style, and structure
since September 11, an evolution that expands the Gothic mode to include the mobility of
the narratives protagonists, a popularisation of the movies, and an increased engagement
with a multi-ethnic international community. To remain timely, relevant, and commercially
viable, such alterations must occur, and these shifts in particular can best be explained
by the changing cinematic marketplace, the influence of videogames, and the policies and
anxieties resulting from the (inter)national trauma of 9/11 and the War on Terror. This
essay examines the film version of World War Z as a key text for exploring the current
transition from a localised siege narrative to an international kind of road trip movie, a
shift largely tied to the popularity of zombie-themed videogames.
apocalypse and manifest the horrors of this apocalypse in
The troubled characters in The Last Winter are
haunted by a common nightmare – the destructive monsters
unleashed by global warming. In addition to addressing our fears about
climate change, recent American apocalyptic films also tap into the
national memory of the terrorist attacks of September11, 2001
the terrorist attacks of September11, 2001.
Together these journeys, I would argue, fermented into a growing sense
of the imminent threat posed by the increasing loss of connection
between modern human beings and the environment and each other, and the
resulting and clearly accelerating destruction of the natural world. The
connections between human greed, big oil, environmental destruction and
Hollywood has misinformed the public about nuclear
power’ . 6 August 2013. https://nuclearstreet.com/pro_nuclear_power_blogs/b/science-history-nuclear/archive/2013/08/06/quot-big-ugly-and-scary-quot-or-how-hollywood-has-misinformed-the-public-about-nuclear-power.aspx .
Wells , Jane.
‘Are nuclear plants safe from attack?
Millions spent since September11 to beef up security