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Posted on December 3, 2015

Interested in contributing to a book on The Walking Dead?

Call for Papers

The Walking Dead franchise has become a popular culture juggernaut that shows no signs of slowing down. Yet, despite its soaring popularity, there has been a longstanding critique that the franchise, in both its comic book and television incarnations, advocates an explicitly patriarchal and predominantly white world order. Zombie narratives have shown themselves to be uniquely qualified to deconstruct the many illusions (and injustices) of our social order, so why have so many felt that The Walking Dead has only hardened the conventional boundaries of race, gender, and sexuality? Nonetheless, in all its forms, The Walking Dead is an evolving narrative—and many would argue that, specifically in its representations of what women and men of all races may become, the franchise is working toward more utopian possibilities.

All four of the collections of essays on The Walking Dead—James Lowder’s Triumph of the Walking Dead (2011), Wayne Yeun’s The Walking Dead and Philosophy (2012), Dawn Keetley’s “We’re All Infected”: Essays on AMC’s The Walking Dead and the Fate of the Human (2014), and Travis Langley’s The Walking Dead Psychology (2015)—cover a wide swathe of topics, and take up gender, sexuality, and race only fleetingly. We think it’s time for a collection addressed squarely at these issues, so crucial to the franchise’s vision of a post-apocalyptic world.

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Posted on December 2, 2015

The House on Pine Street (2015) Review

Dawn Keetley

The House on Pine Street now ranks in my top 3 independent horror films of 2015, just below Karyn Kusama’s The Invitation and just above Perry Blackshear’s They Look Like People (both reviewed here).

Synopsis: A young couple, Jenny (Emily Goss) and Luke (Taylor Bottles), move from Chicago back to Jenny’s hometown in Kansas. Jenny is seven months pregnant and is recovering from some kind of mental breakdown involving her pregnancy (at least, that’s what her husband and mother think). It becomes increasingly clear that Jenny is not happy—not happy to be back in Kansas, not happy to be in the same town as her overbearing mother, Meredith (Cathy Barnett), not happy to have left her life in Chicago, and not happy about to be pregnant. Soon strange things start happening in the house on Pine Street.

Written by Natalie Jones, with the collaboration of Austin and Aaron Keeling, who also directed, The House on Pine Street is a truly independent production, made by graduates of the University of Kansas and the University of Southern California, all under the age of twenty-four. During the nineteen-day shoot, the cast and crew lived in the “haunted” house in which they were filming, conditions reminiscent of the production of George Romero’s Night of the Living Dead.[i]

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Posted on November 30, 2015

The Walking Dead: Did the Carol/Morgan Scene Go Too Far?

Elizabeth Erwin

SPOILERS BEHIND THE CUT

There is an obvious danger in trying to suss out the success or failure of a season of television that has only reached the midway point. Not only are arcs halfway developed, but things we assume to be true often turn out to be something wholly different.

When I initially sat down to write up my assessment of The Walking Dead’s sixth season thus far, I was not nearly as frustrated with the show as some critics. With three near perfect episodes opening the season and a brilliantly plotted, and even more bravely timed, peek into Morgan’s backstory, my criticisms of the show had been largely confined to pacing issues. And then the fight scene between Carol and Morgan aired.

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Posted on November 28, 2015

We Need to Talk About Judith: Why Children Matter in the Zombie Apocalypse

Guest Post

SPOILERS BEHIND THE CUT

One aspect of The Walking Dead that has always bothered me, and has been commented on elsewhere [i], is the obvious stupidity of having a child within the zombie apocalypse. Season two will forever ignite me in anger because of Rick’s reaction to Lori’s wanting to end her pregnancy because she shockingly thought it might be a good idea not to pop out some more children now that they live in a zombie-infested world.

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Posted on November 24, 2015

#Horror Review (2015)

Dawn Keetley

101 mins   | Tara Subkoff |   (USA)   |   2015

Grade: B

Synopsis: Six twelve-year-old friends gather for a sleepover at the fabulous Connecticut home of Sofia (Bridget McGarry), whose mother, Alex, is played by Chloë Sevigny. The girls alternately create various scenarios so they can upload pictures and verbally abuse each other. One of the girls, Cat (Haley Murphy), crosses the line, telling the one girl who’s not unhealthily thin, Georgie (Emma Adler) that she should kill herself. She’s kicked out of the house and soon the other girls realize they are being stalked online and then in deadly reality.

1. hashtag horror georgie by cow

#Horror is the writing and directorial debut of Tara Subkoff, actress and fashion designer. She has talked quite explicitly about her interest, in this project, in marrying the horror film to social commentary. Mentioning some of her favorite horror films and directors (Wes Craven, The Exorcist, Halloween, The Shining), she describes horror’s important work of “social commentary,” its way of “talking about politics.” Subkoff’s interest in social commentary pervades #Horror, which directly speaks to our obsession with electronic devices and social media. According to Subkoff, cultural narcissism is reaching boiling point: “we’re just obsessed with ourselves and promoting ourselves,” she said, in an interview on Quiet Earth.[i] Subkoff also takes aim at cyberbullying, as the girls in #Horror pass up no opportunity to ridicule and abuse each other in person and on social media.

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