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Biopunk Dystopias Genetic Engineering, Society and Science Fiction$
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Lars Schmeink

Print publication date: 2017

Print ISBN-13: 9781781383766

Published to Liverpool Scholarship Online: September 2017

DOI: 10.5949/liverpool/9781781383766.001.0001

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date: 22 November 2017

9/11 and the Wasted Lives of Posthuman Zombies

9/11 and the Wasted Lives of Posthuman Zombies

Chapter:
(p.200) 7 9/11 and the Wasted Lives of Posthuman Zombies
Source:
Biopunk Dystopias Genetic Engineering, Society and Science Fiction
Author(s):

Lars Schmeink

Publisher:
Liverpool University Press
DOI:10.5949/liverpool/9781781383766.003.0007

Chapter 7 returns to the changed social and political realities of the new millennium and the post-9/11 world, connecting global terror with the success of zombie films in mainstream culture. The renaissance of the zombie films can be directly linked to its allegorical depiction of viral, off-scene terror and the dystopian future of a post-apocalyptic world. In analyzing post-9/11 zombie films, especially the Resident Evil-film series and the 28 Days-franchise, the chapter reveals liquid modern anxieties as connected with terrorism and globalization. The films reimagine the zombie in terms of biological disaster – as viral, infectious and unseen – in order to acknowledge the new form of terror emergent in 9/11. In appropriating this biopunk context, contemporary zombie films make available a cultural negotiation of the liquid modern logic of necropolitics (as an extension of biopolitics) and the negation of human and non-human others through technoscientific means. By casting humanity as homines sacri, biopunk zombie films allow for a witnessing of a radical change of the social order. Zombies, in these films, present a possible future that imagines posthuman subjectivity in drastic and extremely jarring imagery, providing contemporary society with biopunk dystopias.

Keywords:   Zombie fiction, 9/11, Viral terrorism, Outbreak narrative, Globalization, Wasted Lives, Homo Sacre, Resident Evil, 28 Days Later

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