Posts Tagged ‘Abraham Lincoln’

Mashups

Posted: April 6, 2012 by zombieprofessor in Literary criticism
Tags: ,

The Wall Street Journal looks at mashups going mainstream with a feature article focusing on Seth Grahame-Smith, best known for “Pride and Prejudice and Zombies” and “Abraham Lincoln Vampire Slayer.”

Mr. Grahame-Smith wasn’t the first writer to put a bizarre spin on a classic tale (arguably, Shakespeare was a skilled practitioner of genre remixing). But he’s become the mash-up movement’s modern avatar. His irreverent literary reboot landed at precisely the right cultural moment. In recent years, digital remixing and sampling—once viewed as derivative at best and illegal at worst—has grown widespread in music, film, television and fine art. Mash-ups are no longer just kitschy parodies. Literary writers like Colson Whitehead and Michael Chabon have experimented with horror and science-fiction themes. A zombie-infused Regency romance doesn’t sound so ludicrous in today’s mash-up rich environment.

I’ve written before about mashups. The public acceptance of genre-bending is refreshing, and the critics clearly lack imagination. That’s why we know the time is right for Zombielanche, a climate change/zombie mashup feature film.

Warning: Spoilertown

The title of the latest Walking Dead interests me. “Better Angels” evokes Abraham Lincoln’s first inaugural, a speech steeped in good intentions that still couldn’t stop a civil war that was already fomenting and that officially began a month later with the attack on Fort Sumpter.

Rick’s eulogy for Dale in which he appeals to everyone’s better angels is an earnest attempt to restore togetherness. It’s like a plea for the former way. But the earnestness is undermined as scenes of zombie butcher are interspersed, just as Lincoln’s speech was undermined by the fact that the South had already seceded from the Union following his election. Dale wouldn’t have been happy to see Andrea cruising around in a truck looking for chances to stick a pitchfork through a zombie’s face. Come to think of it, Abraham Lincoln probably wouldn’t like it either.

Despite the attempt at rhetorically-induced peace, there is conflict coming. Early on we have Lady MacBeth herself taking pity on Shane as he toils alone repairing some kind of tower. She tells him she appreciates him, and that it might be his baby but that, as far as the two of them as a couple go, sorry not gonna happen. But you sure are great!

Lori seems very sincere in this scene. Maybe she’s driven by guilt for planting a homicidal notion about Shane in her husband’s ear; I can’t help but feel that she’s the one that upsets the first rock that starts the rockslide. Why tell Shane it might be his baby? Lori caveats her appreciation by disclaiming her appreciation with “even though things got confused between us.” If a woman said this to me I’d flip. Sounds like a semantically camouflaged way of saying I’ve convinced my husband to kill you.

If Lori Grimes’ motives are in doubt, Carl Grimes’ are not. (In fact it seems that preserving Carl’s innocence is one of the big changes in the show from its comic roots.) Carl just wants absolution from Dale’s death, and for some reason he seeks solace in Shane. As discussed, Shane has a different appeal for a young boy. Of course Carl’s confidence in Shane has an unexpected outcome in the hands of all these “better angels.” Carl gives up his gun to Shane, who gives the gun to Rick and offers some sound parental advice, provoking Rick to give the gun back to Carl so that Carl can eventually use it to kill zombiefied Shane. Got it? By acting like a concerned parent Shane eventually undoes his undead self. This comes full circle when Shane claims he is a better father than Shane.

(more…)

I’d like to look at two artifacts side by side.

First, AARP released a rather hilarious Betty White commercial involving zombies.

Second, one of the most promising movie concepts in years is heading straight for us. I haven’t been this excited since Snakes on a Plane.

Thanks in no small part to the novels (and now the movie) of Seth Grahame-Smith, we are clearly into the genre-bending age of this latest infatuation with zombies and vampires. This moment is akin to the first time somebody thought to combine Pink Floyd’s “The Wall” and “The Wizard of Oz.”

This kind of permissive genre-mashing is a good sign for new innovation in the zombie space, and for the Zombielanche project in particular.