Viral apocalypse: Discourses of spreading and stopping epidemic through the example of zombie film narrative by Mandić Marina

“…The narratives of zombie films feature social anxieties regarding infectious agents through the discourse of epidemiological apocalypse, due to occurrence of an incurable virus, whose development results in the potential ending of the civilization.…”
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Zombies saved my cold dead heart by Chng, Bee Hwee, Low, Koon Yen, Nah, Erwin Hark Eyan, Ng, Jessie Jieying

“…This is what happens to hopeless romantic Euclid, turning him into a zombie film geek with a compulsive need to over-analyze every situation. …”
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Genre and Discourse (and Zombies), an Introduction in Pictures by Nicolas Labarre

“…It seeks to demonstrate the necessity to go beyond textual or prescriptive approaches, using the example of zombie films. The comic is arguing that some films that contain zombies are not usually seen as being part of the zombie film genre. …”
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Endure, Not Cure: <i>Rammbock</i> and Pandemic Experience by Sharon Coleclough

“…This work examines the concept of a pandemic in microcosm through a close analysis of the German zombie film Rammbock (Marvin Kren, 2010, Germany). Unlike blockbuster zombie films that focus on the size and spread of the contagion, Rammbock looks at the individual on the ground, in this case away from the urban centres where assistance and specialist support might be found. …”
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The New Zombie Apocalypse and Social Crisis in South Korean Cinema (translation into Russian) by Sung-Ae Lee

“…The popular culture version of the zombie, developed over the latter half of the twentieth century, made only sporadic appearances in South Korean film, which may in part be attributed to the restrictions on the distribution of American and Japanese films before 1988. Thus the first zombie film Monstrous Corpse (Goeshi 1980, directed by Gang Beom-Gu), was a loose remake of the Spanish-Italian Non si deve profanare il sonno dei morti (1974). …”
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The Icon of the Zombie Mob by Jørgen Riber Christensen

“…This is in a more specific sense than the prevalent understanding of the zombie as an icon of fear of globalisation; but it is also a continuation of the cultural critique of mass society as expressed in for instance George Romero’s zombie film trilogy. If the zombie has become the mob, then a reciprocal question remains. …”
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The 1930s Horror Adventure Film on Location in Jamaica: ‘Jungle Gods’, ‘Voodoo Drums’ and ‘Mumbo Jumbo’ in the ‘Secret Places of Paradise Island’ by Emiel Martens

“…The first part contains a discussion of <i>Ouanga</i>, the first sound film ever made in Jamaica and allegedly the first zombie film ever shot on location in the Caribbean. …”
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Zombies in Revolt: The Violent Revolution of American Cinematic Monsters by Dunja Opatić

“…It is my contention that zombies, through their cinematic (r)evolution, came to embody Deleuze and Guattari’s vision of the nomad war machine. Zombie films are used as a vehicle for addressing the tension between the hegemonic fear of the violent multitude in revolt and the counter-hegemonic liberatory potential of the rising masses. …”
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The undead new world: Zombie epidemics’ apocalyptic surroundings and social relations by Mandić Marina

“…The narratives of zombie films articulate social relations in the context of an apocalyic social environment, indicating unstoppable processes of disease spreading through the omnipresence of zombies as the primary infection carriers, emphasizing discourses of biological catastrophe, that is, epidemics of infectious diseases as a potential means of the end of a modern civilization. …”
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