Skip to content
Back to outputs

Diaries of a plague year: perspectives of destruction, from surveillance to the point of view narrative in contemporary zombie film

Research output: Contribution to conferencePaperpeer-review

Standard

Diaries of a plague year : perspectives of destruction, from surveillance to the point of view narrative in contemporary zombie film. / Austin, Emma Jane.

2009. Paper presented at Cine Excess III, London, United Kingdom.

Research output: Contribution to conferencePaperpeer-review

Harvard

APA

Vancouver

Author

Bibtex

@conference{03a054fd301a4fe2840c8d78fe8d47ee,
title = "Diaries of a plague year: perspectives of destruction, from surveillance to the point of view narrative in contemporary zombie film",
abstract = "The past 20 years has seen a steady flow of productions of Zombie film, both in terms of global film production, and both {\textquoteleft}independent{\textquoteright} and studio based productions of horror film. The popularity of Zombie film may be determined by many differing factors, though the ruling ethos may be that expressed by the creators of Night of the Living Dead (1968), who based their first feature on the genre that “was cheapest to make”.This infective genre spans different countries and concerns, notably at a time of rising global communication and the subsequent shifts in global film markets, and while the idea of economic imperatives may explain the rise of fan–created material, notably through the affordability of camcorder and then digital video equipment, it does not satisfactorily explain how the concept of global infections is such a strong thematic consideration of contemporary Zombie film. This paper argues for both a consideration of the production contexts of modern Zombie film, in a culture conditioned to access global media, and the thematic uses of how events are recorded in modern Zombie film, from the distrust of the media first proposed in George Romero{\textquoteright}s Night and Dawn of the Dead (1978) to the chilling first person perspectives of Zombie Diaries, (M. Bartlett and K. Gates, 2006) Diary of the Dead (G. Romero, 2007) and [Rec] (J. Balaguero and P. Plaza, 2007)These aesthetic choices in presenting events may indicate an overriding definition of the modern Zombie film – as a genre predicated on establishing and destroying social spaces of freedom and containment, it also addresses concerns relating to the visual representations of protests, uprisings and disasters in news media reportage and the possibly conflicting viewpoints of {\textquoteleft}official{\textquoteright} news and those arising from first-person perspectives of events.",
author = "Austin, {Emma Jane}",
note = "Published as Dyson, Emma (2014) Diaries of a Plague Year: Perspectives of Destruction: From surveillance to the point of view narrative in Contemporary Zombie film. In Hunt, L, Lockyer, S and Williamson, M, eds. Screening the Undead: Vampires and Zombies in Film and Television. I.B Tauris, London.; Cine Excess III ; Conference date: 30-04-2009 Through 02-05-2009",
year = "2009",
month = apr,
day = "30",
language = "English",

}

RIS

TY - CONF

T1 - Diaries of a plague year

T2 - Cine Excess III

AU - Austin, Emma Jane

N1 - Published as Dyson, Emma (2014) Diaries of a Plague Year: Perspectives of Destruction: From surveillance to the point of view narrative in Contemporary Zombie film. In Hunt, L, Lockyer, S and Williamson, M, eds. Screening the Undead: Vampires and Zombies in Film and Television. I.B Tauris, London.

PY - 2009/4/30

Y1 - 2009/4/30

N2 - The past 20 years has seen a steady flow of productions of Zombie film, both in terms of global film production, and both ‘independent’ and studio based productions of horror film. The popularity of Zombie film may be determined by many differing factors, though the ruling ethos may be that expressed by the creators of Night of the Living Dead (1968), who based their first feature on the genre that “was cheapest to make”.This infective genre spans different countries and concerns, notably at a time of rising global communication and the subsequent shifts in global film markets, and while the idea of economic imperatives may explain the rise of fan–created material, notably through the affordability of camcorder and then digital video equipment, it does not satisfactorily explain how the concept of global infections is such a strong thematic consideration of contemporary Zombie film. This paper argues for both a consideration of the production contexts of modern Zombie film, in a culture conditioned to access global media, and the thematic uses of how events are recorded in modern Zombie film, from the distrust of the media first proposed in George Romero’s Night and Dawn of the Dead (1978) to the chilling first person perspectives of Zombie Diaries, (M. Bartlett and K. Gates, 2006) Diary of the Dead (G. Romero, 2007) and [Rec] (J. Balaguero and P. Plaza, 2007)These aesthetic choices in presenting events may indicate an overriding definition of the modern Zombie film – as a genre predicated on establishing and destroying social spaces of freedom and containment, it also addresses concerns relating to the visual representations of protests, uprisings and disasters in news media reportage and the possibly conflicting viewpoints of ‘official’ news and those arising from first-person perspectives of events.

AB - The past 20 years has seen a steady flow of productions of Zombie film, both in terms of global film production, and both ‘independent’ and studio based productions of horror film. The popularity of Zombie film may be determined by many differing factors, though the ruling ethos may be that expressed by the creators of Night of the Living Dead (1968), who based their first feature on the genre that “was cheapest to make”.This infective genre spans different countries and concerns, notably at a time of rising global communication and the subsequent shifts in global film markets, and while the idea of economic imperatives may explain the rise of fan–created material, notably through the affordability of camcorder and then digital video equipment, it does not satisfactorily explain how the concept of global infections is such a strong thematic consideration of contemporary Zombie film. This paper argues for both a consideration of the production contexts of modern Zombie film, in a culture conditioned to access global media, and the thematic uses of how events are recorded in modern Zombie film, from the distrust of the media first proposed in George Romero’s Night and Dawn of the Dead (1978) to the chilling first person perspectives of Zombie Diaries, (M. Bartlett and K. Gates, 2006) Diary of the Dead (G. Romero, 2007) and [Rec] (J. Balaguero and P. Plaza, 2007)These aesthetic choices in presenting events may indicate an overriding definition of the modern Zombie film – as a genre predicated on establishing and destroying social spaces of freedom and containment, it also addresses concerns relating to the visual representations of protests, uprisings and disasters in news media reportage and the possibly conflicting viewpoints of ‘official’ news and those arising from first-person perspectives of events.

M3 - Paper

Y2 - 30 April 2009 through 2 May 2009

ER -

ID: 2951252