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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.
-based productions of this period ( The Empire Strikes Back, Dr Strangelove , 28 Days Later , Moulin Rouge! and Blade Runner ); the two outdoor events ( Dirty Dancing and Romeo + Juliet ) and numerous smaller-scale ‘X’ events (including Victoria and The Handmaiden ) with a consideration of the many press interviews, public appearances and conference presentations made by Riggall. Through this examination, we draw out the many tensions that exist in the organisation's communication of its corporate identity. These tensions are particularly acute in Riggall's multiple
people’ are seen to mutate into bloodthirsty werewolves while Shaun of the Dead sees very ordinary Londoners turn into flesh-eating zombies. Virulent infection changes men, women and children into ragedriven maniacs in 28 Days Later, while The Descent illustrates how Zombies, dog men and dragons 163 closely related we all are to blind, cannibalistic and evolutionarily regressive troglodytes. What is equally notable is the fact that a whole new generation of what may be termed ‘fusion heroes’ have arisen in the new millennium to do battle with said monsters and with
to these concerns with specific reference to an extraordinary proliferation of what Noël Carroll would term ‘fusion monsters’: which our questing heroes must invariably overcome in order to forge for themselves a mode of masculinity fitted to their time and place. Such monsters include the zombies of Shaun of the Dead the werewolves of Dog Soldiers, the vampiric serial killer of Cradle of Fear (2000), the Arab fire spirit of Long Time Dead (2001), the dragons of Reign of Fire, the murderously infected citizenry of 28 Days Later and the invisible malevolence of
any analysis must take the specifics of the filmed material into consideration. Case study: 28 Days Later (2002) When thinking about how the different elements work together, first consider what stands out in the finished film. For example, is the music or soundtrack heavily evocative? Does it point forward in the narrative or indicate character development, or is it instead discordant, signifying unease, tension or awkwardness? How does the camera move and how does this complement, enhance or act as counterpoint to the mise-en-scene? Often it is easiest to analyse
not going to be an easy watch: bad things are going to happen. The first episode draws, intertextually, on films such as 28 Days Later , with the lead character Rick Grimes awakening in a medical facility. We accompany him on his journey out of the hospital bed and into the new world, where – together – we learn what has happened. We are encouraged to contemplate the fact that Rick’s fate, as well as that of his family, could just as easily be our own. This new world is not just Rick’s: it is ours and it is dangerous. This lesson is made starkly apparent as, having
democracy that under the guise of New Labour, replaced Britain’s longstanding socialist traditions with the conceptually and ideologically hybrid Third Way. In the werewolves of Dog Soldiers (2001), the flesh-eating zombies of Shaun of the Dead (2004), the murderous infected of 28 Days Later (2002) and the cannibalistic troglodytes of The Descent (2005) we can thus see a range of hybridised monsters emerging that allow for an exploration of the increasingly simulacral culture of the United Kingdom and of the crisis of masculine identity increasingly apparent since the
Frankenstein story, whose rejection sets the creature on its rampage, so that the cultural resonance of the monstrous regiment is always anti-progress and anti-science. These two inherently irreconcilable scripts, that of technology as simultaneously the saviour of humanity and a kind of monster factory, 2 As depicted in a new generation of films such as 28 Days Later (20th Century Fox, 2002) and World War Z (Paramount Pictures, 2013). 154 Science and the politics of openness and the public as simultaneously the eager beneficiary and the irrational (yet organised
). ‘ Doctor Who Time Fracture: An Immersive Event ’, Immersive Doctor Who , www.immersivedoctorwho.com/ (accessed 24 March 2020). Kennedy , H.W. ( 2017 ). ‘ Fun fear Attractions: The Playful Affects of Carefully Managed Terror in Immersive 28 Days Later Experiences ’, in H. W. Kennedy and S. Atkinson (eds), Live Cinema: Cultures, Economics, Aesthetics . London : Bloomsbury , pp. 167–84 . Kershaw , B. ( 1999 ). The Radical in Performance: Between Brecht and
be addressed. Or, It has been the trend within writing on British horror cinema to identify the key players within the field, such as Steve Chibnall’s work on Peter Walker or Peter Hutchings’ study of Terence Fisher, but what of more modern directors who work within the horror film genre? How does a film like 28 Days Later (2002) fit within the established conventions and traditions of British horror cinema? As well as offering a review of all the relevant literature, writing in this way will also help you to identify the sources you have used in your work. What