Zombies analysis essay PDF

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Vampires and zombies have become an increasingly significant presence in popular culture. They are social monsters, epitomizing aspects of social horror. These monsters have served as a coping mechanism for what terrifies people the most. People fear their power, desire their immortality, and relate with their struggles. People are afraid of facing some serious matters like pandemic disease, aging process, natural death, etc. However, they want to experience those emotions, anxiety, and grief through their representation; so, they can ease their fear. For instance, Guillermo Del Toro and Chuck Hogan in their piece “Vampires Never Die” and James Parker in his selection “Our Zombies, Ourselves” analyze the timeless fascination vampires and zombies continue to hold for today’s society. These monsters are two sides of the same coin addressing human being crucial issues with racism and slavery. Also, history aside, many modern fears: obsession with sexuality, epidemic illnesses, mindless consumerism, etc. resonate with zombies and vampires’ stories in a different way. Zombies Its history is originated from the transatlantic slave trade and its relationship to Haiti can never be fully evacuated from the myth. But traces of the myth’s connection to slavery and revolt everywhere can be seen, even today. The West African version of the zombie didn’t eat brains — they weren't scary the same way today’s zombies are. They were a symbol for fear of enslavement under French colonial rule. People weren't afraid of them, but of becoming a zombie and losing control. So, the original zombie reflects the fear of the society in which it was created. Parker illustrates, “…the zombie was one who had died and been buried, only to be malignantly revived and enslaved by a sorcerer, or bokor” (343). Also, in William Seabrook’s The Magical Island, he describes the zombie as working in the cane fields and having no control over himself (Parker 343). These creatures are a metaphor for slavery, which is a hard life without reward, control, or hope. The zombie films could be an unconscious, outward manifestation of modern white racism. A racism that serves, rather than justifying the offensive acts of colonialism, slavery and imperialism of yesterday. Also, a defensive, psychological reaction that illuminates their current demographic decline. Their gruesome appearance, underlines Parker, can tell even more, “…dripping with wounds, …he exhibits the pathos of his personhood” (345). Today they represent a mirror into the society. They underline their fear of social infrastructures falling apart and show their growing anxiety over lawlessness. They portray human being who cannot control themselves and victimize others instinctively without the ability to evaluate the consequences of their actions. Vampires Unlike the zombies, vampires symbolize the high-class power. They are called master, lord; those who exploit others to their benefits, the white overseers. In fact, vampires feed on others’ blood; and slave-owners live of the blood, sweat, and tears of their slaves. John William Polidori transformed the vampire from a character in folklore into the form that is recognized today—an aristocratic fiend who preys among high society. Del Toro and Hogan mention that it might have been created out of lust, envy, and want for power (336). They illustrate, “… Lord Ruthven, the titular creature, was based upon Lord Byron- literary superstar of the era and another resident of the lakeside villa…” (336). For instance, if they consider that Dracula sets out to take over London, the capital of Empire, at the end of the nineteenth century, it makes sense that vampires would seek their dominion in Paris in the eighteenth. As critic Nina Auerbach puts it, “Vampires go where power is.”

As metaphors, those monsters illumine people most secret feelings about issues too sensitive to discuss openly. Del Toro and Hogan elucidate, “… instills in us something that every social construct seek to quash: primal lust” (336). Vampires come in various forms, they can be predators or victims. They symbolize society’s fear of rape and incest. Del Toro and Hogan claims, “Polidori stitched together folklore, personal resentment, and erotic anxieties…” (336). He infused the creature with his own sexual desires (Del Toro and Hogan 336). And Lord Byron is well known for having many lovers and relationships with both men and women. Vampires have always been creature of the night. They swoop down in the dark, penetrate their victims, mostly women, obtain what they want, then depart satisfied. That sounds like a rape. Also, the deep association with night suggests prostitution. Likewise, the zombie reflects socio-sexual desires and fears. Sex and love play crucial roles in numerous zombie narratives. Parker illustrates, “Now, scant seconds after having your throat ripped out, you stand up snarling and race off in search of prey” (345). Moreover, the undead have sex with each other and with humans in many contemporary zombie narratives, like iZombie. These creatures have been transformed and become very sexy. The combination of zombies and sex is unpleasant, provocative, triggering a multitude of questions about the nature of desire, sex, sexuality, and people sexual behaviors. However, The Walking Dead suggests that heterosexuality has somehow triumphed over alternative genders and sexualities at the end of the world.

Infectious disease These monsters could also symbolize society’s fear of devastating epidemics. In the zombie literature, hypothetical outbreaks spread so quickly that the world is caught off guard. Parker affirms, “The virus, too, has been ferally accelerated” (345). Ebola is the most recent case. Zombie vaccine research is costly and difficult -- most labs can’t contain zombie pathogens or infected zombies. Once a vaccine becomes available, people are reluctant to get it. And quarantines can fail when infected people who don’t show symptoms are grouped together with the healthy. Zombies can be used as a powerful tool for increasing awareness of issues of public health significance. The vampire character has consistently been a metaphor for infectious disease. Del Torro and Hogan lay out that the vampire “… offers a peculiar brand of blood alchemy” and imply, “For as his contagion bestows its nocturnal gift, …” (336). Since vampires are former humans who have been infected with a viral agent, they hunger for the blood of uninfected humans and they will commit monstrous acts to get it. Moreover, blood borne pathogens are viruses or bacteria that are carried through human blood. They are transmitted by direct contact when blood or body fluid from an infected person enters a recipient’s bloodstream. Any body fluid with blood (semen, vaginal secretion, saliva, etc.) is potentially infectious. Then, these bloodsuckers’ feeding habits provide clues for an analogy to highly infectious diseases, like HIV and STDs, being spread. Writers and movie producers use vampires and zombies for different reasons. No longer do these monsters simply represent sin and death. Mainstream tensions linked to racial discrimination and

slavery, sexual inclination and devastating epidemics rear their ugly heads. These monsters are a form of introspection. They rationalize otherwise uncontrollable events, allow people to fantasize about who they’d like to be, keep them aware of society’s flaws and help them express what they fear most about themselves. Though their role might have changed throughout time, their purpose will always remain essential....