If posthumanism is about decentering the human, it would of necessity involve untying that knot. In the West, property and the “human” are knotted. Million, Christopher Sharrett, Tony Williams, Annaelle Winand.) Edited by Kristopher Woofter (Authors not listed: Adam Lowenstein, R. This retrospective honours a visionary who changed the face of horror but, perhaps more importantly, it hopes to encourage further interest in the diverse work of an important American filmmaker who never stopped seeking new ways to force his audience to experience their moment. Comics, and some are coming to Romero’s work absolutely fresh. Some respondents are seasoned Romero scholars and addicts, some are coming to the material via Stephen King or literary antecedents such as Edgar A. Contributors were encouraged to respond in the way that they felt most appropriate to the film they chose, and to their experience with it. The critical perspectives here vary from the personal to the theoretical.
This retrospective treats all sixteen of the films Romero directed, with a mention of those he scripted. George Andrew Romero died on 16 July, 2017 at the age of 77. The recent trend of zombie movies, whether survival horror or zombedies, confirms the diversity of complex, sometimes contradictory meanings enabled by the figure of the zombie.
Resistance, then, is no longer directed at an “unnatural” order, as in the classic zombie movie, but at the “natural” order and is enabled by the contingency and multiplicity associated with the outbreak. Resorting to a post-structuralist framework including Althusser’s notions of state apparatuses, Foucault’s distinction between subjection and subjectification, and Butler’s analyses of subversive resignification, the author argues that, while the classic zombie is entirely subjected to the master, and thus to the meanings the latter imposes, Romero’s living dead resist and sometimes create meaning, revealing both the contingency of the structures they disrupt and the constructiveness of the identities projected onto them. In order to determine what makes the zombie movie and the figure of the zombie so productive of political readings, this article examines, first, the classic zombie movies influenced by voodoo lore, then Romero’s initial living dead trilogy (1968-1985), and finally some of the most successful films released in the 2000s. Romero, revealing, notably, how they reflect specific social concerns.
Critics have repeatedly focused on the political subtexts of the living dead films of George A.
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