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Stay inside. Close windows and doors.

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The "Zombie manifesto" was issued as a communiqué in the days leading up to 19 April 2008 in Overvecht, a grey suburbs of high-rise buildings in Utrecht, the Netherlands. A few months later, again, but this time in Barakaldo, a satellite town in the metropolitan area of Bilbao in Basque Country. Both times, this sardonic call to arms was all it took to summon up a crowd of people to voluntarily subject themselves to an elaborate collective fantasy, in the framework of the art project Stay inside. Close windows and doors. Read more

"It is us who are the dead: The Living Dead as a Walking Mirror" by Jordi Costa

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In the opening shots of Shaun of the Dead, by Edgar Wright, an intelligent comedy ignored by Spanish cinemas, a procession of sleepwalkers performs an everyday dance to the sound of the lounge tune Sunny Delights by the British band I Monster. Before the first zombie (strictly speaking) even makes an appearance, this prelude makes it clear that in our world of iPods, supermarket checkout queues and lives held in suspended animation at the bus stop, we all are zombies to some degree or other. This was the inevitable conclusion that the genre would arrive at from the moment George A. Romero, father of the living dead as the archetype of modern horror, turned the resurrected legions in Dawn of the Dead in 1978, his brilliant sequel to Night of the Living Dead (1968), into the mirror of consumerist inertia, voracious and insatiable even after brain death. Read more

"Unconscious Consumption: Anatomy of Zombie Life" by Jaime Cuenca

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The modern zombie, as characterised by George A. Romero, is a lethal machine whose sole purpose is to consume fresh human flesh. That which distinguishes it from any other creature can be described using the expression unconscious consumption. In this essay, I shall develop this argument and attempt to show its surprising validity as one of the central traits of our way of life. With regard to the physical characteristics of zombies and their patterns of behaviour, I base myself on The Zombie Survival Guide (hereinafter ZSG) by Max Brooks; in my interpretation of the modern conditions of life, I shall follow above all the work of Zygmunt Bauman. Read more

Zombie Manifesto

The Zombie is kind of unglamorous, as far as characters from cinema go. Bereft of consciousness, personality and ambition, the zombie is more of a tragic antihero; a repulsive parody on the ideal citizen, with no other connection to lived experience than the automatic repetitions of old socialization routines. Read more

The figure of the Zombie drifting between life and death

Life and death are blended into one and the same thing in zombies. Yet they have been treated as a dichotomy in modern-day society, in which failure, sadness, loneliness, etc. are not permitted. We are forced to be heroes if we wish to avoid being cut off from others. The zombie as tragic hero could serve as a ‘perfect-imperfect’ model of the significance that life acquires once death, profound failure, anguish, infinite and fathomless despair have been experienced. Read more

Romero's zombies

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In the beginning of the 60s, USA started a transformation that unleashed an economic crisis worsened by the expenses of the Vietnam war. This crisis expanded between the citizens a feeling of disappointment for society and for the promises of the American Dream. As a compensation to this situation, contra cultural movements started arising which had a big impact in cinema. Many films, for example, started to deconstruct myths about sex and violence. Read more

I'd love to turn you on

Woke up, fell out of bed
Dragged a comb across my head
Found my way downstairs and drank a cup
And looking up I noticed I was late
Found my coat and grabbed my hat
Made the bus in seconds flat
Found my way upstairs and had a smoke
Somebody spoke and I went into a dream Read more

Shopping Town Overvecht

If you have seen Romero's zombie movie "Dawn of the Dead", you will remember how the survivors of the epidemy of zombies shelter in an area of a big shopping mall. They gradually conquer this space from the zombies that keep on trying to get in the mall because "some kind of instinct, a memory of what they used to do. This was an important place in their lifes", says one of the characters. The film has been interpreted like a criticism on consumer society because of this struggle for the territory of the shopping mall. Read more 2 comments

LET THE CARNIVAL BEGIN

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Dressing up and disguise, the blurring of identities and boundaries, transformation, transgression; all are brought together in the wearing of masks. Masking up releases our commonality, enables us to act together, to shout as one to those who rule and divide us 'we are all fools, deviants, outcasts, clowns and criminals'.

'Carnival Against Capital' London 1999 Read more 1 comment



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