Skip to main content

Where Zombies Come From: A Video Essay on the Origin of the Horrifying, Satirical Monsters

Will zombies ever die? To zombie enthusiasts, of course, that question makes no sense: zombies are already dead, drained of life and reanimated by some magical, biological, or even technological force. Most of us have never known a world without zombies, in the sense of zombies as a presence in film, television, literature, and video games. In the video essay "Where Zombies Come From," video essayist Evan Puschak, better known as the Nerdwriter, goes back to the dawn of these dead figures to pinpoint the origin of this robust "modern myth."

The first mention of zombies appears in 1929's The Magic Island, a book on Haiti by "journalist, occultist, and generally eccentric minor celebrity" William Seabrook. "The zombie, they say, is a soulless human corpse, still dead, but taken from the grave and endowed by sorcery with a mechanical semblance of life — it is a dead body which is made to walk and act and move as if it were alive."

That 90-year-old description may sound more or less like the zombies that continue to scare and amuse us today, but the modern image of the zombie didn't emerge fully formed; 1932's Bela Lugosi-starring White Zombie, the very first zombie film, may not strike us today as fully representative of the genre it founded.

But "in 1968 everything changed." That year, the young filmmaker George A. Romero's Night of the Living Dead (watch it online) laid down the rules for zombies: they "devour living human beings. They hobble forward awkwardly but relentlessly. They're dumb, able to use objects as blunt-force instruments but nothing else. They can only be killed by being shot in the head or burned, and if one bites or scratches you, you'll die not long after, then transform into one and pursue whomever is nearby, family or not." To Puschak's mind, the film holds up not just as a zombie movie, but as a movie: "In its neorealist, black-and-white style, it is a smart, tightly crafted story made on a shoestring budget with a third act that is absolutely brutal and punishing even now, 50 years later."

Night of the Living Dead didn't call its zombies zombies, but its sequel, 1978's Dawn of the Dead, put the label of zombie on not just them but us: "The film, which takes place almost entirely in a mall, uses zombies to critique consumerism: as the zombies lumber through this familiar place, we see our own behavior as a grotesque reflection. A zombie's thoughtlessness, Romero understood, is the perfect mirror for our own." Dawn of the Dead bolstered the potential of zombies not just as as "creative, primal monsters," but as satirical devices, and the finest zombie movies know how to use them as both at once. (So far I've seen that balance no more impressively struck than in a Korean zombie movie, Yeon Sang-ho's Train to Busan.)

Over the past half-century, post-Night of the Living Dead zombie stories have made all manner of tweaks on and variations to the standard zombie formula. Danny Boyle's 28 Days Later, for example, popularized the fast-moving zombie, and Edgar Wright's Shaun of the Dead pioneered the full-on zombie comedy. Most recently, no less astute an observer of American culture and re-animator of seemingly dead cinematic tropes than Jim Jarmusch has offered us his own entry into the zombie canon, The Dead Don't Die. Jarmuschian zombies shamble compulsively toward that which they desired in life: coffee, wi-fi, chardonnay, Xanax. As long as we can still see these ourselves in these both funny and terrifying creatures, the zombie apocalypse will always seem dead ahead.

Related Content:

Watch Night of the Living Dead, the Seminal Zombie Movie, Free Online

How to Survive the Coming Zombie Apocalypse: An Online Course by Michigan State

Decay: Zombies Invade the Large Hadron Collider in Movie Made by Ph.D. Students

Martin Scorsese Creates a List of the 11 Scariest Horror Films

What Makes a Good Horror Movie? The Answer Revealed with a Journey Through Classic Horror Films Clips

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

Where Zombies Come From: A Video Essay on the Origin of the Horrifying, Satirical Monsters is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.



from Open Culture https://ift.tt/2ZlSFxi
via Ilumina

Comments

Post a Comment

Popular posts from this blog

What Voltaire Meant When He Said That “We Must Cultivate Our Garden”: An Animated Introduction

“Voltaire’s goal in writing [his 1759 satire Candide ] was to destroy the optimism of his times,” says Alain de Botton in the School of Life video above, “an optimism that centered around science, love, technical progress, and a faith in reason.” These beliefs were folly, Voltaire thought: the transfer of faith from a providential God to a perfect, clockwork universe. Candide satirizes this happy rationalism in Doctor Pangloss, whose belief that ours is the best of possible worlds comes directly from the philosophical optimism of Gottfried Leibniz . The preponderance of the evidence, Voltaire made abundantly clear in the novel’s series of increasingly horrific episodes, points toward a blind, indifferent universe full of needless cruelty and chaos. “Hope was, he felt, a disease,” de Botton says, and “it was Voltaire’s generous goal to try and cure us of it.” But as everyone who has read Candide (or read a summary or brief notes on Candide ) knows, the novel does not end with ...
Post a Comment
Read more

When Albert Einstein & Charlie Chaplin Met and Became Fast Famous Friends (1930)

Photo via Wikimedia Commons “You do not really understand something unless you can explain it to your grandmother,” goes a well-known quote attributed variously to Albert Einstein, Richard Feynman, and Ernest Rutherford. No matter who said it, “the sentiment… rings true,” writes Michelle Lavery , “for researchers in all disciplines from particle physics to ecopsychology.” As Feynman discovered during his many years of teaching , it could be “the motto of all professional communicators,” The Guardian ’s Russell Grossman writes , “and especially those who earn a living communicating the tricky business of science.” Einstein became one of the world’s great science communicators by choice, not necessity, and found ways to explain his complex theories to children and the elderly alike. But perhaps, if he’d had his way, he would rather have avoided words altogether, and preferred acrobatic feats of silent daring to get his message across. We might at least conclude so from his reverence f...
Post a Comment
Read more

1,100 Delicate Drawings of Root Systems Reveals the Hidden World of Plants

We know that plants can inspire art. If you, personally, still require convincing on that point, just have a look at Elizabeth Twining’s Illustrations of the Natural Orders of Plants , the drawings of Ernst Heinrich Haeckel , Elizabeth Blackwell’s  A Curious Herbal , and Nancy Anne Kingsbury Wollstonecraft’s Specimens of the Plants and Fruits of the Island of Cuba — not to mention the paintings of Georgia O’ Keeffe — all previously featured here on Open Culture. But those works concern themselves only with plant life as it exists above ground. What goes on down below, underneath the soil? That you can see for yourself — and without having to pull up one of our fine flowering (or non-flowering) friends to do so — at Wageningen University’s online archive of root system drawings . “The outcome of 40 years of  root system excavations in Europe,” says that site, the collection contains 1,180 diagrams of species from  Abies alba (best known today as a kind of Christmas t...
Post a Comment
Read more