Preliminary Material /Sarah Montin and Evelyn Tsitas -- 'The Only Thing to be Deplored is the Extraordinary Mortality': Flinders Island and the Imagination of the British Empire /Tom Lawson -- Zombies in the Colonies: Imperialism and Contestation of Ethno-Political Space in Max Brooks' The Zombie Survival Guide /Robert A. Saunders -- The Perilous Sites of the Atlantikwall /Rose Tzalmona -- 'Monstrous Homes': How Private Spaces Shape Characters' Identities in 19th-Century Sensation Fiction /Christina Flotmann -- Enchanted Microcosm or Apocalyptic Warzone? Human Projections into the Bug World /Petra Rehling -- Monstrous Breeding Grounds: Creation, Isolation and Suffering at Noble's Island, Hailsham and Rankstadt /Evelyn Tsitas -- How the Earth Went Bad: From Wells' The War of the Worlds to the Zombie Apocalypse in the 21st Century /Simon Bacon -- 'Strange Outlandish Star': Spaces of Horror in the Poems and Memoirs of the War Poets /Sarah Montin -- Unsettling Empty Spaces, Displacing Terra Nullius /Thea Costantino -- Morgues, Museums and the Ghost of Errol Flynn /Erin Ashenhurst -- Architecture after Fukushima: Spaces of Bara Bara, Spaces of Reciprocity /Yutaka Sho.

In 1968, George Romero's film Night of the Living Dead premiered, launching a growing preoccupation with zombies within mass and literary fiction, film, television, and video games. Romero's creativity and enduring influence make him a worthy object of inquiry in his own right, and his long career helps us take stock of the shifting interest in zombies since the 1960s. Examining his work promotes a better understanding of the current state of the zombie and where it is going amidst the political and social turmoil of the twenty-first century. These new essays document, interpret, and explain the meaning of the still-budding Romero legacy, drawing cross-disciplinary perspectives from such fields as literature, political science, philosophy, and comparative film studies. Essays consider some of the sources of Romero's inspiration (including comics, science fiction, and Westerns), chart his influence as a storyteller and a social critic, and consider the legacy he leaves for viewers, artists, and those studying the living dead.

Transnational Zombie Cinema, 2010 to 2020: Readings in a Mutating Tradition examines selected films produced outside the United States in the second decade of the millennial zombie renaissance. Ziegler analyzes how the films adapt the zombie myth to localized concerns as it circulates in post-Great Recession transnational zombie cinema.

The figure of the zombie that entered the popular imagination with the publication of William Seabrook's The Magic Island (1929)--during the American occupation of Haiti--still holds cultural currency around the world. This book calls for a rethinking of zombies in a sociopolitical context through the examination of several films, including White Zombie (1932), The Love Wanga (1935), I Walked with a Zombie (1943) and The Serpent and the Rainbow (1988). A 21st-century film from Haiti, Zombi candidat a la presidence ... ou les amours d'un zombi, is also examined. A reading of Heading South (2005), a film about the female tourist industry in the Caribbean, explores zombification as a consumptive process driven by capitalism.

Since the early 2000s, popular culture has experienced a "Zombie Renaissance," beginning in film and expanding into books, television, video games, theatre productions, phone apps, collectibles and toys. Zombies have become allegorical figures embodying cultural anxieties, but they also serve as models for concepts in economics, political theory, neuroscience, psychology, computer science and astronomy. They are powerful, multifarious metaphors representing fears of contagion and doom but also isolation and abandonment, as well as troubling aspects of human cruelty, public spectacle and abusive relationships. This critical examination of the 21st-century zombie phenomenon explores how and why the public imagination has been overrun by the undead horde.

Since the early 2000s, zombies have increasingly swarmed the landscape of popular culture, with ever more diverse representations of the undead being imagined. A growing number of zombie narratives have introduced sexual themes, endowing the living dead with their own sexual identity. The unpleasant idea of the sexual zombie is itself provocative, triggering questions about the nature of desire, sex, sexuality, and the politics of our sexual behaviors. However, the notion of zombie sex has been largely unaddressed in scholarship. This collection addresses that unexamined aspect of zombiedom, with essays engaging a variety of media texts, including graphic novels, films, television, pornography, literature, and internet meme culture. The essayists are scholars from a variety of disciplines, including history, theology, film studies, and gender and queer studies. Covering The Walking Dead, Warm Bodies, and Bruce LaBruce's zombie-porn movies, this work investigates the cultural, political and philosophical issues raised by undead sex and zombie sexuality.

Taking a deep dive into contemporary Western culture, this book suggests we are all fundamentally ambivalent beings. A great deal has been written about how to love – to be kinder, more empathic, a better person, and so on. But trying to love without dealing with our ambivalence, with our hatred, is often a recipe for failure. Any attempt, therefore, to love our neighbour as ourselves – or even, for that matter, to love ourselves – must recognise that we love where we hate and we hate where we love. Psychoanalysis, beginning with Freud, has claimed that to be in two minds about something or someone is characteristic of human subjectivity. Owens and Swales trace the concept of ambivalence through its various iterations in Freudian and Lacanian psychoanalysis in order to question how the contemporary subject deals with its ambivalence. They argue that experiences of ambivalence are, in present-day cultural life, increasingly excised or foreclosed, and that this foreclosure has symptomatic effects at the individual as well as social level. Owens and Swales examine ambivalence as it is at work in mourning, in matters of sexuality, and in our enjoyment under neoliberalism and capitalism. Above all, the authors consider how today’s ambivalent subject relates to the racially, religiously, culturally, or sexually different neighbour as a result of the current societal dictate of complete tolerance of the other. In this vein, Owens and Swales argue that ambivalence about one’s own jouissance is at the very roots of xenophobia. Peppered with relevant and stimulating examples from clinical work, film, television, politics, and everyday life, Psychoanalysing Ambivalence breathes new life into an old concept and will appeal to any reader, academic, or clinician with an interest in psychoanalytic ideas.

We tend to consider translation as something good, virtuous and bright, but it can also function as an instrument of concealment, silencing and misdirection—as something that darkens and obscures. Propaganda, misinformation, narratives of trauma and imagery of the enemy—to mention just a few of the negative phenomena that shape our lives—show patterns of communication in which translation either functions as a weapon or constitutes a space of conflict. But what does this dark side of translation look like? How does it work? Ground-breaking in its theoretical conception and pioneering in its thematic approach, this book unites international scholars from a range of disciplines including philosophy, translation studies, literary theory, ecocriticism, game studies, history and political science. With examples that illustrate complex theoretical and philosophical issues, this book also has a major focus on the translational dimension of ecology and climate change. Transdisciplinary and topical, this book is key reading for researchers, scholars and advanced students of translation studies, literature and related areas. Chapter 8 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution 4.0 license available at http://www.taylorfrancis.com/books/e/9780429321528

Depictions of the zombie apocalypse continue to reshape our concept of the walking dead (and of ourselves). The undead mirror cultural fears--governmental control, lawlessness, even interpersonal relationships--exposing our weaknesses and demanding a response (or safeguard), even as we imagine ever more horrifying versions of post-apocalyptic life. This critical study traces a shift in narrative focus in portrayals of the zombie apocalypse, as the living move from surviving hypothetical destruction toward reintegration and learning to live with the undead.

Divided into four thematic sections, What's Eating You? explores the deeper significance of food on screen-the ways in which they reflect (or challenge) our deepest fears about consuming and being consumed. Among the questions it asks are: How do these films mock our taboos and unsettle our notions about the human condition? How do they critique our increasing focus on consumption? In what ways do they hold a mirror to our taken-for-granteds about food and humanity, asking if what we eat truly matters? Horror narratives routinely grasp those questions and spin them into nightmares. Monstrous “others” dine on forbidden fare; the tables of consumption are turned, and the consumer becomes the consumed. Overindulgence, as Le Grande Bouffe (1973) and Street Trash (1987) warn, can kill us, and occasionally, as films like The Stuff (1985) and Poultrygeist (2006) illustrate, our food fights back. From Blood Feast (1963) to Sweeney Todd (2007), motion pictures have reminded us that it is an “eat or be eaten” world.