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L'apparente pérennité de la figure du zombie, sa résurrection périodique à des moments charnières de l'histoire et son évolution suggère qu'elle pourrait jouer un rôle symbolique au sein de la société où elle prend forme. Le mandat de cette étude consiste donc d'abord à dresser un portrait du zombie contemporain en clarifiant la provenance ainsi que les origines du mythe et en prenant bien soin de définir les caractéristiques récurrentes du monstre à travers les époques et nations. Ensuite, il tient à étudier trois différents films provenant de trois différentes époques soient : White Zombie (1932) de Victor Halperin, Dawn of the Dead (1978) de George A. Romero et 28 Days Later (2002) de Danny Boyle et Alex Garland. Ces films sont analysés en fonction de l'attitude du zombie, de ses caractéristiques, des motivations apparentes, de son pouvoir et impact sur la population. En somme, l'objectif vise ici à établir un portrait de la figure du zombie au cinéma, à donner un aperçu de son évolution, et à déterminer la nature du rôle, qu'il semble exercer sur la société représentée où il sévit.

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.

Cette thèse explore les figures de la revenance et de la hantise d'un point de vue politique et esthétique, c'est-à-dire dans leur rapport à la société et à l'image. A cette fin le cinéma est le champ d'expérimentation et de manipulation puisque le cinéma, et notamment le cinéma américain, fait partie de ces mythologies modernes qui ont bercé le XXe siècle, avec ses histoires, codes et figures imposées. Les images produites par le cinéma sont ancrées dans l'inconscient et l'imagerie collectifs des spectateurs. C'est donc toute sa grammaire qui est à l'étude sous l'angle du mort-vivant : du héros au second rôle, de la perspective saturée du décor au hors-champ mortel. Si le zombie est la figure de proue de cette thèse, il s'agit moins de l'étudier d'un point de vue ethnographique que d'user de ses particularités afin de questionner le visible sur le mode de la persistance, de la pratique du retour incessant et de l'envahissement, c'est-à-dire comme une forme de résistance. Les revenants dévoilent lentement mais inexorablement l'envers du décor et délimitent une nouvelle topographie, déplacent les seuils et les frontières convenus : entre morts et vivants, entre visible et caché, entre champ et hors-champ. Les limites de l'espace et du corps sont mises à l'épreuve. Dans ma pratique, cette redéfinition des limites transforme l'image et l'univers filmique en ce que l'on pourrait nommer des « limbes filmiques » par des actions simples dans et sur l'image cinématographique : envahissement, contamination, pourrissement, corruption, dévoration, prolifération, raréfaction. Les morts-vivants revisitent ainsi, tels de riches touristes, les mythologies du cinéma. / The thesis explores the concepts and figures of revenance and haunting from a political and aesthetic point of view that is to say in their relation to historical and social contingencies, the real and the image. Cinema, and in particular American cinema, forms a significant part of the modern mythologies that have rocked the cradle of the 20th century, with its stories, codes and figures. The images produced by cinema are seamlessly embedded and archived in the spectator's unconscious and the collective imagery. I aim to reconsider the grammar of cinema through the angle of the living dead: the supporting roles as well as the principal characters, the saturated perspective of the sets as much as the deadly off-screen. The zombie is the figurehead of the thesis, but my purpose is less about studying it from ethnographical point of view than of making use of its particularities to question the visible on the mode of persistence, of the practice of the unceasing comebacks and of invasion, that is to say as an act of resistance. The revenants unveil slowly but inexorably the secrets beyond the door, and mark the boundaries of a new topography, shifting and altering the seemingly fixed thresholds; accessing the space between the dead and the living, in between the visible and the hidden, and in between on-screen and off-screen. This redefining of the margins and the boundaries transforms the image and the filmic universe into what could be called « cinematic limbo » by simple actions in and on the image: invasion, contamination, rotting of, corruption, devouring of, proliferation. The living dead continuously revisit, like sad tourists, the mythology of the cinema.

Distributed Denial of Service attacks is a problem that constantly threatens companies that rely on the internet for major parts of their business. A successful DDoS attack that manages to penetrate a company’s network can lead to devastating damages in the form of lost income, reduced productivity, increase in costs, and damage to the company’s image and reputation. The different DDoS attacks are many and of different character and often Offer different parts of the network, which makes it very difficult to defend against. It is also very clear that DDoS attacks are increasing in both numbers and size every year. From our experiments we have proven that anyone with little knowledge and limited resources can perform DDoS attacks that will make a website unavailable. This fact should cause companies that base their business on the internet, aware that they are likely to someday be subject to a DDoS attack. From our research we have found a variety of different DDoS solutions on the market that promise to offer protection. Many of which claim to protect against all different types of DDoS attacks. In practice it is impossible to find something that guarantees 100% safety. According to earlier research in the field, there are many different ways of protecting a network against DDoS attacks, e.g. via Software Defined Networking, Hop-Count Filtering, or Kill-bots. Our own tests show that a virtual firewall can offer protection against DDoS attacks on a low scale, but that such a solution has a number of weaknesses. If the firewall does protect the website, the attacker could instead shift to attacking the firewall itself. Our research also shows that the most common motives behind DDoS attacks are criminal purposes. Criminals use DDoS attacks to earn money by offering directed DDoS attacks against websites or by trying to blackmail companies into paying a fee for not being attacked. We have also seen that the economic consequence of DDoS attacks are devastating if not handled with a sufficiently fast response. After investigating the e-commerce company CDON.com we learned that they could potentially lose roughly 36 410 SEK per minute when a DDoS attack is underway against them. In today’s business climate it is important for companies to be able to rely on the internet for their activity and for customers to have easy access to the company’s products and services. However, companies’ websites are being attacked and thus these companies need an explicit plan of how to mitigate such attacks. / Distributed Denial of Service (DDoS) attacker är ett problem som ständigt hotar företag, som förlitar sig till internet för centrala delar av sin verksamhet. En DDoS-attack som lyckas penetrerar ett företags nätverk kan medföra förödande skador i form av förlorade intäkter, minskad produktivitet, ökade kostnader samt skada på företagets rykte/varumärke. DDoS-attackerna är många och av olika karaktär, som attackerar olika delar av ett företags nätverk, vilket leder till att det är svårt att effektivt skydda sig mot DDoS-attacker. Det står också klart att DDoS-attacker ökar både till antalet och storleksmässigt för varje år som går. Utifrån våra egna experiment har vi kunnat bevisa att vem som helst med små medel och begränsade kunskaper kan utföra en DDoS-attack som sänker en webbsida. Ett faktum som gör att alla företag vars verksamhet är baserad på internet bör räkna med att de någon gång bli utsatta för en DDoS-attack. Utifrån våra undersökningar kan vi se att det finns en uppsjö av olika DDoS-skydd på marknaden, skydd som hanterar några problem som DDoS-attacker medför, men det finns inga kompletta skydd som kan garantera 100 % säkerhet. Utifrån tidigare forskning på området framgår det att det finns många olika sätt att skydda sig mot DDoS-attacker, t.ex. genom Software Defined Networks, Hop-Count Filtering eller Kill-bots. Våra egna tester visar på att en virtuell brandvägg kan vara ett sätt att skydda sig mot DDoS-attacker, men testerna visar också att en sådan lösning inte heller är säker då man kan förstöra åtkomsten till webbsidan genom att överbelasta brandväggen.<p> Undersökningen visar också att ett av de vanligaste motiven bakom DDoS-attacker är kriminella ändamål. Kriminella som använder DDoS-attacker för att tjäna pengar genom att erbjuda riktade DDoS-attacker mot websidor eller genom försök att utpressa till betalning med DDoS-attacker som ett hot. Vi har kommit fram till att de ekonomiska konsekvenserna av DDoS-attacker kan vara ödestigna för företag om det inte hanteras i tid. Genom våra egna beräkningar har vi visat att e-handelsföretaget CDON.com riskerar att förlora ca 36 415,90 kr per minut som en DDoS-attack pågår mot företaget. Anledningen till av vi valt att ägnad denna uppsats åt DDoS-problemet, är den skrämmande ökningen av DDoS-attacker som man kan se sker årligen. Attackerna blir flera, de ökar storleksmässigt och de blir allt mer sofistikerade. Attackerna utförs också tillsynes omotiverat i vissa fall, men också välplanerade attacker utförs för att skada företag ekonomiskt. I dagens företagsklimat är det viktigt att företaget har möjlighet att använda sig av internet för att driva verksamheten och göra det enkelt för kunder att ta del av företagets produkter/tjänster. Att företags webbsidor blir utslagen på grund av en DDoS-attacker är idag en verklighet, och en tydlig plan för att hur man ska hantera en sådan incident bör finns på plats inom företag.

Thesis advisor: Susanto Basu / This dissertation examines the fluctuations of the aggregate economy when frictions in financial markets are present. I focus on the the asymmetric information problems between creditors and debtors on the quality of debtor's projects and I analyze how these frictions cause the fluctuations in aggregate economy which is potentially inefficient. The first chapter examines the interaction between the perverse incentives and the general equilibrium effects of misallocated bank credit. This essay is intended to elucidate the mechanism of zombie lending in Japan. By incorporating a soft budget problem into a neo-classical dynamic general equilibrium model, the model shows that an inefficient zombie lending regime can be selected as an equilibrium. In this equilibrium, the incentives and the general equilibrium effects are interdependent. The inefficient use of resources crowds out investment when banks have incentives to bail out insolvent firms. On the other hand, the general equilibrium effects give rise to the perverse incentives endogenously through the formation of the liquidation value and the continuation value of insolvent firms. In the worst case, agents fail to resolve non-performing loan problems, and the model economy permanently falls into an inefficient regime. The second chapter proposes a model that generate boom-and-bust cycles by securitization of subprime mortgages. I construct a dynamic housing choice model in which mortgages are financed by securitization and I assume that creditors have errors in measuring the default risks of subprime mortgages. With this setup, the resource availability for housing fluctuates endogenously and it causes the boom-and-bust cycles. Particularly, there are two channels that change the resource availability: the security design of the securitized assets and the evolution of house price inflation. I illustrate that subprime mortgages can be cheaply financed by securitization when creditors mismeasure the quality of the subprime mortgages. This ignites a boom in the model. However, the boom can be terminated as the profitability of securitization declines along with the decline in the expectation of house price inflation. This is because the house price inflation is tied with the liquidation value of the defaulted mortgages. As the expectation of the house price inflation slows down, the subprime mortgages become more risky and the securitization becomes less profitable. Eventually, issuers of securitized assets withdraw from the securitization market and the boom collapses. The last chapter explores the transmission mechanisms of international business cycles when the borrowing capacity of multinational enterprises (MNEs) is limited. I embed MNEs that face borrowing constraints in a two-country international business cycle model. I show that the net worth of MNEs plays a significant role in generating the international business cycle co-movement: the wealth effect in response to the change in MNEs' net worth has a strong multiplier effect on domestic and foreign investment of MNEs. Output moves in the same direction between the two countries due to the synchronized investment. The model is also able to generate reasonable cross-country correlations in real estate price and consumption. / Thesis (PhD) — Boston College, 2010. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Economics.

Though a new player in town, Amy isn't afraid to get her hands dirty. When she discovers a ruthless sadist named Angel is operating in her new home, Amy makes it her goal to stop Angel. Though Amy quickly finds her sense of justice is putting her at odds with her own survival when Angel takes her own interest in Amy.

Emerging out of a tradition of dystopic and apocalyptic cinema, the survivalist film has arisen as a new subgenre owing to a collision of several divergent modes of cinema. While the scholarly discourse has been preoccupied largely with the task of setting up the parameters of this new cinematic line little attention has been paid to unraveling what the new modes of masculine performance within the films mean in the post-9/11 moment in which they have emerged. This paper looks at the ways in which the gendered heroics on the screen are indebted to the slasher and zombie subgenres in offering alternatives to performing and reclaiming masculinity in the modern survivalist film. Looking towards the collapse of society within these films and the historical preoccupation with these film's ancestral sources at moments when masculinity is threatened in new ways, I argue that when society collapses on the screen so too collapses the character's understanding of "proper" gender performance as well as the audiences expectations of appropriate response to this subversion. I find that survivalist films offer a new mode for exploring gender through the ways in which masculinity is performed, received, and reclaimed. Owing largely to the meeting of horror subgenres within these films masculinity can be encountered by the audience in a way that has until now not been possible for the spectator, presenting an opportunity to reevaluate how we recognize and regulate expectations of gender both on and off screen.

<p>Utgångspunkten för studien var ett större projekt kring epilepsi och medvetande. Syftet med föreliggande arbete var tvådelat: dels att utarbeta ett instrument för att studera medvetandeinnehåll och beteende under partiella epileptiska anfall. Dels att ge en systematisk sammanställning av självrapporterade beteenden under partiella anfall och relatera dessa till aktuell forskning kring medvetande och automatiska beteenden. Vanligast rapporterade beteendet var kategorin egenkontroll, följt av kategorierna automatismer och zombiebeteenden. Fördelningen beror till viss del på att egenkontroll är ett medvetet beteende och därför lättast att rapportera. En närmare analys av exempel på kategorin zombiebeteende ger vid handen att inga exempel på de nya, komplexa beteenden utan subjektivt medvetande som kännetecknar "äkta" zombievarande föreligger. Uppdelningen av kategorierna i automatismer och zombiebeteende bör utifrån detta omprövas i framtida versioner av manualen. Slutligen konstateras att en betydande vidareutveckling av instrumentet är nödvändig för att på ett bättre sätt spegla komplexiteten i materialet.</p>