Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-05-23T11:01:55Z No. of bitstreams: 1 luciodefranciscisdosreispiedadefilho.pdf: 4385734 bytes, checksum: 38d6518b11e846a2ddc4b06c15de421a (MD5) / Rejected by Adriana Oliveira (adriana.oliveira@ufjf.edu.br), reason: Renata, esta coleção é daquelas que não consigo editar para corrigir. Favor incluir aspas iniciais e também dar espaço após as aspas de entusiasta” on 2016-07-02T11:30:05Z (GMT) / Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-07-04T10:39:36Z No. of bitstreams: 1 luciodefranciscisdosreispiedadefilho.pdf: 4385734 bytes, checksum: 38d6518b11e846a2ddc4b06c15de421a (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T16:19:33Z (GMT) No. of bitstreams: 1 luciodefranciscisdosreispiedadefilho.pdf: 4385734 bytes, checksum: 38d6518b11e846a2ddc4b06c15de421a (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T16:19:40Z (GMT) No. of bitstreams: 1 luciodefranciscisdosreispiedadefilho.pdf: 4385734 bytes, checksum: 38d6518b11e846a2ddc4b06c15de421a (MD5) / Made available in DSpace on 2016-07-13T16:19:40Z (GMT). No. of bitstreams: 1 luciodefranciscisdosreispiedadefilho.pdf: 4385734 bytes, checksum: 38d6518b11e846a2ddc4b06c15de421a (MD5) Previous issue date: 2012-03-28 / Primeiramente, pretendemos analisar o filme A Noite dos Mortos-Vivos (Night of the Living Dead, 1968), de George A. Romero, observando o contexto histórico de sua produção, conectando-o ao espírito do tempo da era atômica e aos movimentos contraculturais de fins dos anos de 1960. Em seguida, realizaremos um estudo minucioso acerca do modelo romeriano de horror – a representação moderna do zombie e suas nuances. Por fim, identificaremos a permanência deste modelo na atualidade e as transmutações que vem sofrendo nas novas mídias, na esteira do desenvolvimento científico e tecnológico. Consideraremos, ainda, a perspectiva de retorno do gótico no fim do milênio e o subsequente período de crise política e econômica da primeira década do século XXI, marcado pelo surgimento de novos movimentos contraculturais de propagação viral. Dentro desse contexto, o zombie parece retornar, uma vez mais, enquanto representação das classes oprimidas na era do capitalismo “pós-industrial”. / Firstly, we intend to analyze George A. Romero’s Night of the Living Dead (1968) aiming at the historical context of the film, connecting it to the atomic age’s spirit of the time and the countercultural movements of the late 1960’s. Secondly, we will conduct a detailed study on the Romerian’s model of horror – the modern representation of the zombie and its nuances. Finally, we will identify the permanence of this model nowadays and the transmutations that undergoes in new media, following the scientific and technological development. We will also consider the return of the Gothic style at the end of the millennium and the subsequent period of political and economic crisis at 21st century’s first decade, characterized by the emergence of new countercultural movements of viral propagation. Inside this context, the zombie returns once more, as a representation of the oppressed classes, at the post-industrial capitalism era.

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.

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