<p> This paper combines concepts from Romantic and Gothic literature with ecocriticism in order to discuss eco-zombies in Mary Shelley&rsquo;s <i> Frankenstein</i> as well as the film, <i>28 Days Later</i> and the texts that follow the film: the graphic novel, <i>28 Days Later: The Aftermath</i> by Steve Niles, and the comic books series, <i> 28 Days Later</i>, by Michael Alan Nelson. Throughout this paper, nature, primarily through the eco-zombie interpretation of it, is read as a character in order to determine how much agency nature has over the human characters within the texts and film being discussed. The use Todorov&rsquo;s narrative theory, in this paper, depicts the plots of these stories, specifically the changes to the lives of these characters and how they are affected by nature in various ways, to depict nature&rsquo;s ever growing assertiveness over the humans that encounter it as well as how those humans attempt to overcome the disruptions that nature places on their sense of self. Both Frankenstein&rsquo;s monster and the infected in <i>28 Days Later</i>, when seen as eco-zombies, and therefore granting agency to nature, exert power of humans through physically affecting them as well as mentally.</p>

<p> Textual genre criticism and close readings of novels and films reveal that, in addition to chronicling catastrophes&rsquo; aftermaths, the post-apocalyptic genre envisions a future world in which traditional apocalyptic ideology is inadequate and unsatisfactory. While the full apocalyptic trajectory traditionally includes an end met by a new beginning, moments of cultural crisis have questioned the efficacy of apocalyptic metanarratives, allowing for a divergent, post-apocalyptic imagination that has been reflected in various fictional forms. </p><p> The post-apocalyptic genre imagines a post-cataclysmic world cobbled together from the remnants of our world and invites complicated participation as readers and viewers engage with a world that resembles our own yet is bereft of our world&rsquo;s meaning-making structures. The cultural history of the genre is traced through early nineteenth-century concerns about plagues and revolutions; <i>fin-de-si&egrave;cle</i> anxieties and the devastation of the First World War; the post-apocalyptic turn in the cultural imagination following the Second World War, the atomic bombs, and the Holocaust; the Cold War and societal tensions of the 1960s and 1970s; late twentieth-century nationalism and relaxation of Cold War tension; and renewed interest in post-apocalypticism following the terrorist attacks on September 11, 2001. </p><p> Textual analysis reveals that the genre is particularly interested in formal experimentation and other postmodernist ideas, carnivalesque transgression, and concerns about survivorship and community. The mobilization of these themes is examined in case studies of the novella &ldquo;A Boy and His Dog,&rdquo; the novels <i>The Quiet Earth</i> and <i>The Road</i>, and the films <i>Idaho Transfer, Night of the Comet</i>, and <i> Mad Max: Fury Road</i>.</p><p>

Through a group of films from the late 60s and 70s which have been totally obliterated in the canonical studies about Spanish film due to their low technical quality and apparent triviality, this study focuses on their cultural impact, overwhelming production and extending consume. This group of films, belonging to a genre called “sexy-celtiberic” comedies, suggests and presents a series of social, psychological and sexual behaviors very important in the dynamics of the configuration of a national ideology. The evolution of the treatment of the female body and her sexuality in this filmic genre provides a very challenging field of study within a social, economic, political and cultural context. The use of the female body in this cultural media serves to shape, in a controlled way, the national identity of a society under a dictatorial regime based on a traditionalist moral ideology that is being undermined by a cultural “other.” The sexual and national economy can not work in a simple opposition to the new and foreign, but, as we can see in these comedies, a play of acceptance and repulse comes into action. The female body is one of the pillars on which this national transformation into democracy is supported and where the text of this new national configuration is inscribed. The national discourse is inscribed in the female body, a foreign one in the comedies of the late 60s and a national one in the 70s, to pertain a heterosexual economy whose aims are matrimony and reproduction. However, the Spanish female body needs to contain certain sexual actions, very far away from the moral duty imposed on her, to save the national welfare (that is to say, the male Spaniard) from the foreign influences. Women become a non-historic and pure signifier that can be moved along a chain of signifying and can be furnished with different meanings within a national discourse. Her use and role are going to be present in the long and difficult road to Spanish democracy.