Shock Totem #10 (Jan 2016)
- Closing for Submissions
- Shock Totem Returns!
- Apex Publications Acquires Shock Totem Book Line
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 8
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 7
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 6
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 5
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 4
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 3
- The Head, the Tail, the Whole Damn Thing: Musings on Jaws, Part 2
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If one were to examine pop-culture today and determine where exactly zombies and the undead stand, it would sort of feel as though they really do walk among us. In recent years, AMC’s hit series The Walking Dead, with now three seasons under its belt, has left zombies with an undeniable stamp on the medium of the screen.
Already in 2013, two films, Warm Bodies and World War Z, have graced audiences with two very different perspectives on, but nevertheless feature, beings that are neither dead nor alive. Countless upon countless horror films centering on zombies have been released over the decades that they, in fact, have spawned their own genre. The ‘Zombie Horror Film’ is now an immortalized subgenre of the horror flick but it goes even deeper than that as the folklore of zombies in North American culture is always being spun into more complex and varying webs of subgenre upon sub-subgenre.
Before one delves into the legend that continually grows, it is important to discover where the dead first began to walk the earth on screen. When we think of the origins of the ‘zombie,’ George A. Romero’s 1968 film, Night of the Living Dead, is certainly a movie that comes to mind and although this is partly true, it being the origin for zombies as we know today, the source goes back a bit farther than that, in fact, over 30 years back whilst in the midst of the Golden Age of Hollywood.
The term ‘zombie’ has roots reaching back into Haitian and African religion, where a zombie is someone who is an animated corpse or hypnotized into doing one’s bidding. Through voodoo and witchcraft it was believed to be possible to turn someone into a zombie. The living dead as we know them today, who rise from graves, is a little more of a recent concept. Rarely nowadays do movies that contain zombie subject matter actually depict them as traditional victims of witchcraft or voodoo; however, this was not always the case. Known to be the first ever full-length feature zombie-horror film, White Zombie is the motion picture which sparked the rise of what was to be a zombie take-over in North American horror.
White Zombie was directed by brothers Victor and Edward Halperin in 1932. The film stars the infamous horror virtuoso Bela Lugosi as well as Madge Bellamy, John Harron, and Robert Frazer. The setting of the plot actually takes place in Haiti and pits Lugosi’s character, Murder Legendre, as the voodoo master with a sugar mill full of his very own zombie slaves. Lugosi puts on a fantastically creepy performance as the antagonist. His signature stare that garnered him so much respect in 1931’s Dracula curdles your blood and is ever present in this film. The atmosphere that the film evokes is undeniably scary and the blank expressions given off by Lugosi’s zombies are eccentrically eerie and truly void of any signs of human existence. Although at times the film is a little goofy (but are not all horror films from that time a little bit so?) and the acting also sometimes cringe worthy, there is a certain amount of charm that this independent horror gem carries along with itself.
Filmed in only 11 days, White Zombie was first released to the public in 1932 in New York City, where it faced less than positive reviews. Critically, the film was seen as a joke and as a laughable parody of what ‘true horror’ could accomplish. In retrospect, though, the film is seen as a pivotal piece in the growth of horror and is seen as the first film to introduce the term ‘zombie’ into mainstream media. For that alone it is certainly worth a watch, if not for Lugosi’s stellar performance.
After White Zombie, not many other zombie films saw zombies from the Haitian perspective and after the huge success of Night of the Living Dead, it would seem that for now, that perspective of zombie has all but been lost and forgotten. The hypnotism and voodoo magic is gone and in its place now stands bloodthirsty, flesh-eating, usually repulsively gory undead. However, after White Zombie there were still several zombie films that came out before George Romero ever got his start, and these included: The Ghost Breakers (1940), King of the Zombies (1941), I Walked with a Zombie (1943), and The Plague of the Zombies (1966). None of them were hugely successful but each had their own little role in expanding and building upon zombie mythology in film.
With zombie-horror as an entire subgenre, it now appears as though sub-subgenres are expanding out of that as well. When you first want to create some sort of zombie-related flick, you have to ask yourself, what sort of zombies are we dealing with? Will the zombies simply rise from the dead or is there a virus involved? Do you need to be bit or is being scratched good enough to turn? Do the zombies specifically need to be shot in the head to be killed? Are they fast, jumping, and sprinting or are they slow, cumbersome, and lumbering? These questions and many, many more have to be answered and determined before one creates anything zombie related nowadays. When talking about zombies and zombie films, I will find myself asking questions like, “Are we dealing with 28 Days Later zombies or Dawn of the Dead zombies?” The list of characteristics that go into creating your own version of the undead is just so expansive, almost overwhelming now, that depending on which sort of zombie you wish to take on, chances are it will be very similar to some films while also very different to others, thus, the creation of a zombie sub-subgenre is created.
Infesting more than just the big screen, zombies are everywhere. Books, videogames (especially videogames), and television all host very successful zombie-related material and although some see the zombie genre as redundant and repetitive, it has been going on for roughly 80 years now and I am sure that zombies are here to stay. You can now have zombies attacking your garden on your iPhone in Plants vs. Zombies, watch Brad Pitt fend for his life against hordes of zombies in World War Z, and even read up and prepare yourself for the impending zombie apocalypse in Max Brooks’ best-selling book The Zombie Survival Guide, but just remember where it all came from; from a little Haitian plantation at the hands of a devious voodoo master practicing witchcraft and a spellbinding Bela Lugosi back in 1932.
Russell Hornsby has acted in films and television for well over a decade, appearing in shows like Lincoln Heights, Grey’s Anatomy, Law & Order, and movies such as Meet the Parents and After the Sunset. He now appears weekly on NBC’s Grimm, a show that is kind of hard to explain.
Matt Betts: I don’t want to be cheesy by starting out quoting IMDB, but I’m going to be that guy anyway.
Russell Hornsby: Okay, go ahead.
MB: According to IMBD, Grimm is an “American police procedural television drama series.” And they also categorize it in the genres of fantasy procedural, horror and mystery. Grimm is a pretty hard show to pin down and describe, isn’t it?
RH: Yes. I have a tough time myself and I don’t know if I always get it right. I’m glad someone is able to do it.
MB: Well, there’s just a little bit of everything in it. There’s action, there’s horror, there’s fairy tale, and it is all blended together so well.
RH: I think, as you said, they do it so well and I hope, sooner rather than later, that it would just be its own genre. You know what I mean?
MB: Absolutely. With all of that in mind, what made you want to take the role of detective Hank Griffin?