The question is frequently posed, what are the best zombie movies? To answer this question, however, one has to first in fact be clear about just what qualifies as a zombie movie. Or, for that matter, what qualifies a zombie. The uninitiated might be surprised to learn this isn't so straightforward a matter as it first seems. We won't presume here to settle the much debated sprinters vs stumblers debate, nor what constitutes being dead. Even leaving aside those controversies, though, the matter isn't necessarily straightforward. For instance, simply calling them the undead or living dead leaves open the place of vampires. They too share the gray place between dead and alive, but, they aren't zombies, that's for sure. So, some kind of rules will be helpful in determining the parameters of what qualifies.
Well, they do say that rules are made to be broken. There's no denying that the rules of cinematic zombies have been regularly broken. Despite this, though, some pretty enduring rules about the nature and origins of zombies have persisted -- despite occasional violation. The upshot is that one has to maintain a little flexibility in discussing this stuff, but, if the limitations are duly acknowledged, there are some useful rule-bounds to be identified.
In looking at these zombie movie conventions it is useful to distinguish between the pre and the post Romero zombies. We can conclude by identifying, too, some of the standard narrative rules of zombie movies.
The Pre Romero Zombies
1. The pre-Romero zombies were usually much influenced by the voodoo mythology of Haiti's folk religion. A distinctive feature of this tradition was the notion that some master of the zombies raised them from the dead and as a consequence exercised control over their worldly actions.
2. Already in this early period it was common that zombie ambulation was characterized by slow, unbalanced motion.
3. Even the pre-Romero movies had already developed the narrative trope of setting the zombie uprising (if you'll excuse the pun) in some kind of an apocalyptic scenario. Nihilism was the aesthetic of the day. Or night.
4. Often dovetailing with the above convention, zombiism was frequently depicted as a plague-like occurrence.
Romero/post-Romero Zombies
5. Under the influence of Romero's vision, zombies were no longer depicted as under the control of a master-mind. Instead they become more like a force of nature - in fact something of a natural disaster. Indeed, it has become a familiar trope in zombie movies that the zombies are the product of some "unnatural" human intervention into the world -- radiation, pharmacology, etc..
6. These new zombies had an apparently insatiable hunger for human flesh.
7. Romero completely re-imagined the zombie attack as a bloody gore fest, almost lovingly depicted in graphic cinematic detail.
8. Possibly the biggest and most widely homage-inspired contribution of Romero was the mythology that zombies could be killed only by a brain destroying blow to the head.
9 It was mentioned above that the plague aspect of zombiism predates Romero, but he gave it another of its distinctive features with the idea that the plague was spread through zombie bites.
Stock ingredients for a zombie movie
10. Almost invariably all zombie movies require some pathetic bummer character who whom, as a consequence of stupidity, selfishness, cowardice or general all purpose inhumanity, brings the previously withheld zombie horde down upon the poor straggling survivors. This person's characteristically anti-social behavior serves the symbolic function of being the weak link in the fortifications that had previously protected a small safe space.
11. Straggling survivors, of course, are also required. As the genre develops more and more these straggler groups are depicted in a manner suited to please the most vigilant diversity commissar: with an improbable mix of ethnicity, gender and age. Presumably this is all intended as a microcosm of the human condition, with its the hope and futility, dignity and venality thoroughly on display.
12. The "what's happening" factor. Always in the beginning, no one seems to be able to figure it out. Despite the rather large number of zombie movies, it always appears as though zombie movies take place in a world where no one has even seen one. And certainly no public official ever has. They just can't figure it out!
13. Zombie movies are not really about zombies. They in fact are about the deterioration of society and human frailty and vanity.
14. Usually there has to be some sad sack who just doesn't get it, not able to let go of an emotional attachment to one of the zombies. Somehow, with all the crazy flesh eating and so forth, they can't quite get with the idea that the former loved one has become a cannibalistic ambulating corpse. This rarely goes well for the sad sack.
15. A peace maker and implicit leader, who tries to pull everyone together and is usually thanked for the effort by some obnoxious jerk eventually accusingly commenting "who made you leader?"
16. And let us not forget the attractions of the love-interest. Among the ragtag of humanity there will be reliably at least one hottie of each gender. No doubt part of the attraction of zombie movies for many fanboys is the projected excitement that finally now some hot babe will have to have sex with me. I mean, the future of humanity depends upon it. As observed, though, the hotties are usually represented in both genders. So, just like high school, there's still some alpha type messing up your plans. But, hey, at least there's some faint hope, right? What's the point of a zombie apocalypse if it's not going to give you some hope to make out with a babe who wouldn't give you the time of day in study hall?
So, there you have it: the rules for identifying zombies and their movies. Next time, then, the question is posed, what are the best zombie movies , you'll be ready to rock and roll.
Well, they do say that rules are made to be broken. There's no denying that the rules of cinematic zombies have been regularly broken. Despite this, though, some pretty enduring rules about the nature and origins of zombies have persisted -- despite occasional violation. The upshot is that one has to maintain a little flexibility in discussing this stuff, but, if the limitations are duly acknowledged, there are some useful rule-bounds to be identified.
In looking at these zombie movie conventions it is useful to distinguish between the pre and the post Romero zombies. We can conclude by identifying, too, some of the standard narrative rules of zombie movies.
The Pre Romero Zombies
1. The pre-Romero zombies were usually much influenced by the voodoo mythology of Haiti's folk religion. A distinctive feature of this tradition was the notion that some master of the zombies raised them from the dead and as a consequence exercised control over their worldly actions.
2. Already in this early period it was common that zombie ambulation was characterized by slow, unbalanced motion.
3. Even the pre-Romero movies had already developed the narrative trope of setting the zombie uprising (if you'll excuse the pun) in some kind of an apocalyptic scenario. Nihilism was the aesthetic of the day. Or night.
4. Often dovetailing with the above convention, zombiism was frequently depicted as a plague-like occurrence.
Romero/post-Romero Zombies
5. Under the influence of Romero's vision, zombies were no longer depicted as under the control of a master-mind. Instead they become more like a force of nature - in fact something of a natural disaster. Indeed, it has become a familiar trope in zombie movies that the zombies are the product of some "unnatural" human intervention into the world -- radiation, pharmacology, etc..
6. These new zombies had an apparently insatiable hunger for human flesh.
7. Romero completely re-imagined the zombie attack as a bloody gore fest, almost lovingly depicted in graphic cinematic detail.
8. Possibly the biggest and most widely homage-inspired contribution of Romero was the mythology that zombies could be killed only by a brain destroying blow to the head.
9 It was mentioned above that the plague aspect of zombiism predates Romero, but he gave it another of its distinctive features with the idea that the plague was spread through zombie bites.
Stock ingredients for a zombie movie
10. Almost invariably all zombie movies require some pathetic bummer character who whom, as a consequence of stupidity, selfishness, cowardice or general all purpose inhumanity, brings the previously withheld zombie horde down upon the poor straggling survivors. This person's characteristically anti-social behavior serves the symbolic function of being the weak link in the fortifications that had previously protected a small safe space.
11. Straggling survivors, of course, are also required. As the genre develops more and more these straggler groups are depicted in a manner suited to please the most vigilant diversity commissar: with an improbable mix of ethnicity, gender and age. Presumably this is all intended as a microcosm of the human condition, with its the hope and futility, dignity and venality thoroughly on display.
12. The "what's happening" factor. Always in the beginning, no one seems to be able to figure it out. Despite the rather large number of zombie movies, it always appears as though zombie movies take place in a world where no one has even seen one. And certainly no public official ever has. They just can't figure it out!
13. Zombie movies are not really about zombies. They in fact are about the deterioration of society and human frailty and vanity.
14. Usually there has to be some sad sack who just doesn't get it, not able to let go of an emotional attachment to one of the zombies. Somehow, with all the crazy flesh eating and so forth, they can't quite get with the idea that the former loved one has become a cannibalistic ambulating corpse. This rarely goes well for the sad sack.
15. A peace maker and implicit leader, who tries to pull everyone together and is usually thanked for the effort by some obnoxious jerk eventually accusingly commenting "who made you leader?"
16. And let us not forget the attractions of the love-interest. Among the ragtag of humanity there will be reliably at least one hottie of each gender. No doubt part of the attraction of zombie movies for many fanboys is the projected excitement that finally now some hot babe will have to have sex with me. I mean, the future of humanity depends upon it. As observed, though, the hotties are usually represented in both genders. So, just like high school, there's still some alpha type messing up your plans. But, hey, at least there's some faint hope, right? What's the point of a zombie apocalypse if it's not going to give you some hope to make out with a babe who wouldn't give you the time of day in study hall?
So, there you have it: the rules for identifying zombies and their movies. Next time, then, the question is posed, what are the best zombie movies , you'll be ready to rock and roll.
About the Author:
Now that you know what makes the grade as a zombie movie, check out Mickey Jhonny's controversial top five list of the all time best zombie movies . Over at the Walking Dead appreciation site, Pretty Much Dead Already, his article on the Walking Dead fanfiction is a must read for every fan of the zombie genre.
This article collected, selected and written by: Author Van Hoc
Niche blogs are sometimes referred to as splogs, but this is a misnomer. Even though the desired end result for the niche blogger is to make money...
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