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Road Trips, Globalisation, and the War on Terror
Kyle William Bishop

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.

Gothic Studies
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From White Zombie to World War Z
Fred Botting

employment, eager to feed families or flee cycles of oppression, war and starvation. Max Brooks’s World War Z ( 2006 ), written as supplement to a UN report documenting human testimonies on the suffering, devastation and rebuilding of the zombie war, charts the emergence and overcoming of global swarms of living dead. These swarms in part constitute reactionary images of Western fears of immigrants and

in Globalgothic
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Editor: Glennis Byron

The late twentieth century saw growing number of articles and books appearing on new national gothic; however, the wider context for this had not really been addressed. This collection of essays explores an emerging globalgothic useful for all students and academics interested in the gothic, in international literature, cinema, and cyberspace, presenting examples of globalgothic in the 21st-century forms. It analyses a global dance practice first performed in Japan, Ankoku butoh, and surveys the ways in which Indigenous cultures have been appropriated for gothic screen fictions. To do this, it looks at the New Zealand television series on Maori mythologies, Mataku. The unlocated 'vagabonds' of Michel Faber's "The Fahrenheit Twins" are doubles (twins) of a gothic trajectory as well as globalgothic figures of environmental change. The book considers the degree to which the online vampire communities reveal cultural homogenisation and the imposition of Western forms. Global culture has created a signature phantasmagoric spatial experience which is uncanny. Funny Games U.S. (2008) reproduces this process on the material level of production, distribution and reception. The difference between the supposedly 'primitive' local associated with China and a progressive global city associated with Hong Kong is brought out through an analysis of cannibal culture. In contemporary Thai horror films, the figure of horror produced is neither local nor global but simultaneously both. The book also traces the development, rise and decline of American gothic, and looks at one of the central gothic figures of the twenty-first century: the zombie.

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Glennis Byron

central gothic figures of the twenty-first century: the zombie. In ‘Globalzombie’, Botting traces changes in this figure from White Zombie onwards. In particular he considers Max Brooks’s World War Z with its depiction of the emergence and defeat of global swarms of living dead, swarms which are both reactionary images of Western fears of immigrants and manifestations of the excessive and

in Globalgothic
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Neoliberal gothic
Linnie Blake and Agnieszka Soltysik Monnet

programmes, films and games that showcase its insatiable hunger to consume both human beings and the societies they inhabit. Notable novelistic examples include World War Z ( 2006 ) by Max Brooks, Jonathan Maberry’s Patient Zero ( 2009 ), Jon Ajvide Lindqvist’s Handling the Undead ( 2009 ), Dust ( 2010 ) by Joan Frances Turner, and M. R

in Neoliberal Gothic
Thomas Ligotti and the ‘suicide’ of the human race
Xavier Aldana Reyes and Rachid M'Rabty

Russell, Charles Beaumont, Lord Dunsany and M. P. Shiel. 6 We are thinking, specifically, of the turn to apocalyptic narratives and zombie holocausts in the twenty-first century, from Robert Kirkman’s The Walking Dead comic series (2003–present) and Max Brooks’s World War Z: An Oral History of the Zombie War (2006) onwards. See Andrew Tate, Apocalyptic Fiction (London: Bloomsbury, 2017); Kyle William Bishop, American Zombie Gothic: The Rise and Fall (and Rise) of the Walking Dead in Popular Culture (Jefferson, NC: McFarland, 2010

in Suicide and the Gothic
The suicide at the heart of Dear Esther
Dawn Stobbart

Brooks’ World War Z (2009) and Lionel Shriver’s We Need to Talk About Kevin (2010) all make use of this structure, with the potential for unreliable narration being a key factor in these texts. It is into this tradition that Dear Esther fits: the unreliability of the narrator becomes a major factor in the interpretive nature of the narrative. The fragmentary nature of the letter delivery means that the player, to understand the narrative fully, must repeatedly force the narrator to relive his suicide, haunting this landscape with his continued presence each time

in Suicide and the Gothic
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Capitalising (on) ghosts in German postdramatic theatre
Barry Murnane

, Ökonomie im Theater der Gegenwart: Ästhetik, Produktion, Institution . Bielefeld : Transcript , 209–24 . Botting , Fred . 2001 . ‘Preface’ . In Fred Botting , ed., The Gothic . Cambridge : D. S. Brewer , 1–10 . Botting , Fred . 2013 . ‘Globalzombie: From White Zombie to World War Z ’ . In Glennis Byron , ed

in Neoliberal Gothic