Thesis (M.A.)--Baylor University, 2009. / Includes bibliographical references (p. 53-54).

Thesis--Auburn University, 2008. / Abstract. Vita. Includes bibliography (p.112-137).

Thesis--Auburn University, 2009. / Abstract. Vita. Includes bibliographical references (p. 44-46).

Thesis (M.A.)--Ohio State University, 2006. / Includes bibliographical references (leaves 83-88). Available online via OhioLINK's ETD Center

This dissertation explores a body of films produced after the events of 9/11, and while examining this specific point of departure, the author presents the argument on the vast cultural relevancy of the omnipresent zombie. These films are interrogative and complex, offering the viewing audience a rich tapestry of interwoven meanings. Furthermore, the author suggests that the zombie trope has, in fact, left the genre altogether, reinserted into a style of films he labels as "non-zombie appropriation." Chapter 1 introduces the zombie genre as both part of the larger horror genre aesthetic and as its' own legitimate subgenre. The zombie has a rich cinematic history, going back more than seven decades; heretofore, the last decade continues to see an unabated release of the viewing world's favorite creature. Chapter 2 examines 28 Days Later and the sequel 28 Weeks Later as critical films functioning as works that refocus the zombie for the twenty-first century. As no serious discussion of filmic zombies can occur without the immeasurable significance of George A. Romero, chapter 3 concentrates on the auteur reclaiming a genre he helped to invent with his films Land of the Dead and Diary of the Dead. These two works show a director that refuses to rest on his laurels by encoding these films with rich post-9/11 concerns. In chapter 4, the examination of the disparate films Equilbruim and The Happening discuss the utilization of non-zombie appropriations, films with no discernible zombies, but for all intents and purpose, imitate that specific narrative. By way of conclusion, chapter 5 continues the non-zombie trope with the abstract (and indeed postmodern) They Came Back. The chapter ends with an augmentation of the framework and with other concerns for the argument. This dissertation should be of interest to both horror scholarship overall and zombie films in particular. It aims to provide a refined reading of a significant body of works and add to the current and critical legitimization to this important style of cinematic artistry.

This paper will consider the function of queer space and presence in the post modern horror film genre. Beginning with George Romero’s 1968 film Night of the Living Dead and continuing through to contemporary examples of the genre, the paper posits the function of the queer monster or monstrous as integral to and representative of the genre as a whole. The paper analyzes both the current theory and scholarship of the genre and through Lacanian psychoanalytic theory and queer theory offers a theory of how these theories can add to existing theory and scholarship.

This thesis is an in-depth analysis of George Romero's 'Living Dead' tetralogy of films, comprising Night of the Living Dead (1968), Dawn ofthe-Bead (1978), Day of the Dead(\985) and Land of the Dead (2005), examined through the lensf of contemporary film genre theory. The project focuses specifically on issues of the representation of race, class, culture and violence in the four films, and how these representations, along with the concomitant social critique evident in Romero's work, change in response to the upheavals and developments which have occurred in the American social, cultural and political climate over the past four decades. It also focuses on how Romero's films respond to changes in the horror genre, and how Romero both structures his films on the binary oppositions which are central to the genre and deconstructs these oppositions, and the implications that this deconstruction (most notably that of the figure of the zombie, which occupies a zone of constantly shifting liminality between the human and the monstrous) has in relation to Romero's socio-cultural and political commentary implicit in the films. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2008

The object of this project is to dissect the filmic elements in Train to Busan (2016) to analyze how the film represents the Sewol Ferry incident, a national disaster occurred in South Korea, and how the audience is able to engage with the trauma. As the first zombie blockbuster created in South Korea, Train to Busan adapted the elements of the zombie genre that has been delineated repeatedly. The film inherited the traits of zombies, representation of government and media, and feature of human characters from the genre created in Hollywood. Additionally, national characteristics had been added through reflecting the Sewol Ferry incident. Based on the ideas of genre studies, not only the components that construct the zombie genre, but also how the spectators confront the trauma while viewing the movie can be examined. Cinematography, narrative, character settings resemble the tragic event, which consequently trigger the audience to engage with the national trauma. Thus, while adapting the genre constructed in the Hollywood, Train to Busan reveals how Korean adaptation of the zombie media has been made.