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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.
repeating the act of physical colonisation by one of ideological imperialism. Pan-Asian gothic is a manifestation of globalgothic rather than global gothic. One way of understanding this is by thinking about globalgothic as glocal gothic, as the concept of the ‘glocal’ which has largely displaced simplistic theories of the global ‘encapsulates the interaction and fusion of global influences and idioms with
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.
developments in the increasingly diverse and problematic genre labelled gothic were intricately connected to historically specific conditions, to the development of an increasingly integrated global economy. 1 The Global Gothic network, founded in 2008 and funded by the AHRC (Arts and Humanities Research Council, UK) was formed in order to consider the issues and questions arising from these developments
-tech laboratory with its cold, blue lights and gleaming chrome surfaces. Figure 5 Ruth Negga and John Lynch in Isolation The effect of this fusion of global horror/SF signifiers is to place Isolation more in the global Gothic/techno-horror mode than the Catholic Gothic category. That is, the film does not ascribe its horror to Irish superstitious practices, or locate its horror’s origins in the Irish past. This is a horror of the present. At the same time, specific Irish narrative tropes (the financially distressed farmer living
decrepitude and dissolution. As Pangborn cogently discusses and illustrates, this dynamic is especially in evidence in the contemporary resuscitation of the zombie figure that is frequently employed to engage with the energy crisis and the ‘Green Revolution’. Part IV , ‘Global Gothic dead’, provides evidence of the Death Question as a transcultural and transhistorical phenomenon and preoccupation from Bollywood
. 2003 . World War Z. London : Duckworth . ____. 2006 . The Zombie Survival Guide . New York : Three Rivers Press . Byron , Glennis. 2008 . ‘“ Where meaning collapses ”: Tunku Halim’s Dark Demon Rising as global gothic’. In Asian Gothic: Essays on Literature, Film and Anime, ed. Andrew Hock Soon Ng. Jefferson , NC : McFarland, 19
William McNeill and Karen S. Feldman. Oxford: Blackwell, 244–52 . Buchan , David. 1986 . ‘Tale roles and revenants: A morphology of ghosts’ . Western Folklore , 45 . 2 : 143–60 . Byron , Glennis. 2008 . ‘“ Where meaning collapses ”: Tunku Halim’s Dark Demon Rising as global gothic’. In Asian Gothic: Essays on Literature, Film and Anime, ed
History of the Zombie Wars . New York : Crown . Byron , Glennis , ed. 2013 . Global Gothic . Manchester : Manchester University Press . Byron , Glennis and Dale Townshend , eds. 2013 . The Gothic World . Basingstoke : Routledge . Callinicos , Alex . 1990 . Against Postmodernism: A Marxist Critique . London : Polity
perspectives, and as discussed in other chapters of this book, Gothic is capable of assuming both profoundly radical and deeply conservative positions so that individual Gothic texts, including games, can be understood as existing on an ideological scale that stretches from radical anti-modern and critical attitudes to firmly conservative, patriarchal and pro-modernity stances. Like global Gothic in general, Nordic Gothic moves across this entire spectrum, but it arguably appears to prefer to tell stories that problematise modernity and question normative