GEORGE OF THE DEAD: THE RADICAL CINEMA OF GEORGE A. ROMERO

by Jack Brindelli

George A. Romero passed away in his sleep on 16th of June 2017, after a short battle with cancer, at the age of 77. Over a long, incredible career spanning five decades, Romero rightly earned his reputation as a, perhaps the, Master of Horror.

Through films like bio-weapon conspiracy The Crazies (1973) and Martin (1978) – a film where a young man whom today’s media would undoubtedly call a ‘disturbed loner’ indulged his patriarchal privilege, through vampiric acts of sexual violence – Romero drew out the political unconscious that underpins so much of our societal mythology. While he did branch out however, he devoted the majority of his best years to the sub-genre which made his career, and which will undoubtedly see him immortalised.Continue Reading

DREAM MACHINES

by Jack Brindelli

Popular culture moves in mysterious ways. For years it can seem like a particular trope or sub-genre has died off before bursting from its suspended animation and illuminating our screens once more. For years it appeared vampires and zombies had been permanently banished to the cinematic shadows before rising triumphant from their cultural tomb, terrifying new generations of cinema-goers at the turn of the century. Similarly, in 2015, the robot seems to be undergoing something of a resurrection. For the past decade considered clunky and kitsch, Artificial Intelligence has suddenly monopolised the top-billed releases of the year – droids are back in the big-time. The question is why?

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VALENTINE’S AND ZOMBIES: A POLITICAL REFLECTION

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by Jack Brindelli

It is Valentine’s week – apparently that’s a thing now – a time of saccharine sweetness, hollow gestures, and empty consumerism in place of romance. In-keeping with the seasonal spirit, then, I want to talk to you today about hearts that long ceased to beat; about a festering horde of blank-faced ghouls, hungering to sink their teeth into human flesh. No, not the populace of shag-app Tinder. Today I am talking about actual zombies.

The undead have always possessed a special place in my own heart – sating more than a simple blood-lust in my own cinematic tastes. Zombies often shamble above and beyond the call of duty, creeping and clawing their way into socio-political territory rarely visited by the supernatural silver-screen. They often act as crude agents of social commentary – and sometimes even of justice. The reanimated corpses who so often fill our post-apocalyptic screens aren’t really a thing to be ‘feared’ by us as such; they are a cultural representation of us. Zombies are the fictional embodiment of the dominant section of society’s fear of a mobilisation of the filthy, impoverished masses.

As Robert Kirkman’s famous comic series (and subsequent televisual smash hit) so often reiterates, “We are the walking dead.”Continue Reading