O despertar da distopia dos mortos
O Zumbi Do Cinema De Horror Como Representação Social
Bibliographic Data
| ID | 5816908 |
|---|---|
| Authors | Maria José Genuino Barros (corresponding author) |
| Year | 2020 |
| Publication date | 2020-12-04 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | THESIS |
| Publisher | Universidade Estadual de Campinas (PUBLISHER • BR) |
| DOI | 10.47749/t/unicamp.2020.1162296 |
| OpenAlex | W4388853426 |
| Language | PT |
| References cited | 1 |
Monsters are fascinating objects of sociology.Among them, what perhaps stands out most recently is the zombie.Pressing the boundaries between life and death, when it arises, poses a threat to the established social postulates.We intend to defend the thesis that the zombie monster, in its dystopia, represents what a society institutes as ordered and chaotic.Unlike other monsters, zombies not only expose what is instituted as normal or standard in a culture, but also for exposing the binomial order/desorder in their own apocalyptic narrative and for representing more specifically the current anxieties, as expressed in the relationship it has with viral epidemics today, as well as other social problems.This is because the narrative of zombie films generally comes in three stages: the "ordered world", prior to the outbreak; the outbreak, which creates zombies, now mostly biological; and the post-apocalyptic world.The present work uses as methodology the historical survey of the constitution of the horror genre, as well as its sociological analysis.The same method is applied to monsters, especially the zombie.The sociological and filmic analysis contemplates the films discussed, with a sharp emphasis on aesthetics in two works: the series The walking dead (2010-) and the film World War Z (2013
Dystopia · Monster · Zombie · Crime, Deviance, and Social Control · Gothic Literature and Media Analysis · Sexuality, Behavior, and Technology
| Citation velocity | historical |
|---|---|
| Highly cited | No |