Mixed Race Studies

Good Girls Don’t Date Dead Boys: Toying with Miscegenation in Zombie Films

Journal of Popular Film and Television
Volume 42, Issue 4, 2014
DOI: 10.1080/01956051.2014.881772
pages 176-185

Chera Kee, Assistant Professor of English
Wayne State University, Detroit, Michigan

Concerning in-between bodies, zombie films have a unique vantage on miscegenation. Exploring earlier films alongside contemporary romantic comedies, it becomes clear that whereas earlier films shut down symbolic interracial fantasies, contemporary films do not. This isn’t without problems, as some films still rescue zombies from zombiness (and hence, their blackness).

Read or purchase the article here.

Look! A Zombie! Race and Passing in ‘iZombie’

PopMatters
2015-10-30

Rukmini Pande
University of Western Australia

iZombie’s “passing” narrative complicates its broader racial politics.

As the fall season of US TV swings into gear, the CW’s undead caper iZombie seems poised for an interesting second outing. Helmed by Rob Thomas (of Veronica Mars fame), the show’s first season was received well by both critics and audiences, and was quickly renewed.

To recap briefly, the show follows Olivia (Liv) More (Rose McIver), a driven MD whose life is turned upside down when she is turned into a zombie. Now working in a morgue, Liv finds out that the brains she eats give her memories of the deceased persons’ lives, specifically, murder victims’ memories.

She teams up with police detective Clive Babineaux (Malcolm Goodwin) to track down various killers, while also attempting to find a cure for zombie-ism (with her ally/boss, Ravi Chakrabarthi [Rahul Kohli]). She also has to try and outwit Blaine (David Anders), an ex-drug dealer turned zombie who has created a new business out of infecting influential people and controlling them through their desire for brains.

The show has garnered kudos for its interesting plot and diverse casting—Ravi is British-Indian, Clive is African-American, and Blaine has a number of non-white accomplices—yet its narrative choices end up complicating its broader racial politics…

…Passing and Survival

The practice of passing is a complex one but may be broadly seen as occurring when, as Brooke Kroeger explains, “people effectively present themselves as other than who they understand themselves to be” (Kroeger Passing: when people can’t be who they are. New York: Public Affairs; 2003: 7). This is a deliberate fashioning of identity presentation and has been practiced across demarcations of race, gender, sexuality, and sometimes religion. While the reasons that people attempt to pass are diverse, it’s most often a “strategy for managing stigma” (Einwohner, Rachel L. “Identity Work and Collective Action in a Repressive Context: Jewish Resistance on the “Aryan Side” of the Warsaw Ghetto.” in Identity Work in Social Movements. Minneapolis: University of Minnesota Press; 2006: 121–139.126) and is employed in situations where being “outed” carries heavy consequences.

Interconnected to this is the acknowledgement that the ability to pass depends on various factors, including physical appearance, income, and community relations. As Allyson Hobbs writes in A Chosen Exile: A History of Racial Passing in America (2014), to pass successfully a person must distance themselves from their community, and the community in turn must do the same. All these factors play into the narrative of iZombie at various points, but by making this a conversation about white bodies, it ignores the historical conditions of that construction, especially in America. In a culture where the raced body is always the one under scrutiny and most likely to suffer policing, the effects of structuring a narrative that places white bodies into that space without adequate critical engagement is dangerous…

Read the entire article here.

“Western Zombies and Their Killers: Exceptionalism, the Empty West, and Mixed Race Families” a lecture by Dr. Anne Hyde

Colorado State University
Cherokee Park Ballroom, Lory Student Center
Fort Collins, Colorado
2014-12-04, 16:30-18:30 MST (Local Time)

Please join us for a public lecture and book signing/reception by Dr. Anne Hyde, William R. Hochman Professor of History at Colorado College. The title of her talk is drawn from her prize-winning book, Empires, Nations, and Families: The North American West, 1800-1860, which won the 2012 Bancroft Prize and was a finalist for a Pulitzer…

For more information, click here.

Dawn of the Different: The Mulatto Zombie in Zack Snyder’s Dawn of the Dead

The Journal of Popular Culture
Volume 45, Issue 3 (June 2012)
pages 551–571
DOI: 10.1111/j.1540-5931.2012.00944.x

Justin Ponder

WHILE ZOMBIE FILMS DO NOT BLATANTLY FOCUS ON miscegenation or mulattos, interracial themes abound in them. In George A. Romero’s Night of the Living Dead (1968), Ben, a black man, saves Barbra, a white woman, from hordes of zombies. From this moment on, the film binds this interracial couple, casting them as partners attempting to survive the horrific attacks of the living dead. Cristina Isabel Pinedo (Recreational Terror: Women and the Pleasures of Horror Film Vieiwng) claims that “racial silence” is the film’s “structuring absence,” and this absence falls no more silent than the romance this interracial coupling implies (29). The film pairs the cantankerous and controlling Mr. Cooper with the long-suffering and submissive Mrs. Cooper while coupling the young, star-crossed lovers Tom and Judy. According to North American cinematic logic, one could safely assume that Ben and Barbra, the remaining adults, would fall in love by film’s end. While the late 60s might have been ready to see a black man save, protect, and even punch a white woman, the era apparently was not prepared to see him walk away hand-in-hand with her as innumerable zombies rise from the dead to keep Night’s black white couple from the normative romantic conclusion of North American cinema.

This romantic tension between black man and white woman continues in Romero’s 1978 Dawn of the Dead. The film focuses on four survivors: Fran, a resourceful news producer; Steve, a helicopter pilot and Fran’s lover; Roger, a S.W.A.T. team member; and Peter, a S.W.A.T. team member and the quartet’s only black man. Robin Wood (“Normality and Monsters: The Films of Larry Cohen and…

Read or purchase the article here.

Obama, Zombies, and Black Male Messiahs

In Media Res
2009-10-01

Elizabeth McAlister, Associate Professor of Religion, African American Studies and American Studies
Wesleyan University

Insofar as they occupy the symbolic place of messiah in these zombie apocalypses, it interesting that from Ben in Night, to Peter in Dawn, and John in Day, to Robert Neville in I Am Legend, a central male hero is Black, two of whom are West Indian. All are solid, dependable, capable Black men who strategize and fight their way to survive the zombie outbreak. All Romero’s Black men make alliances with the one White woman in each group, who also makes it to the post-apocalypse.   What can we make of this interesting pattern that zombies seem to be the monsters it is the province of Black men to vanquish? We might wonder, in turn, what it is about whiteness in zombie films that the Black male secular messiah characters point to… …Obama has been said to possess an image in the American psyche that lends itself to being cast as a Magical Negro; he has also been referenced in a messianic idiom, and scores of commentators have noted the many times that people use exalted, prophetic vocabulary in describing Obama. Obama was elected in the teeth of an economic super-crisis, a hero who would slay the zombie-banks threatening to cannibalize the nation’s funds. Obama is also figured as a multi-racial person who will usher in America’s multiracial future (the implicit future of these zombie films)…

Read the entire essay here.

Slaves, Cannibals, and Infected Hyper-Whites: The Race and Religion of Zombies

Anthropological Quarterly
Volume 85, Number 2, Spring 2012
pages 457-486
DOI: 10.1353/anq.2012.0021

Elizabeth McAlister, Associate Professor of Religion, African American Studies and American Studies
Wesleyan University

The first decade of the new millennium saw renewed interest in popular culture featuring zombies. This essay shows that a comparative analysis of nightmares can be a productive method for analyzing salient themes in the imaginative products and practices of cultures in close contact. It is argued that zombies, as the first modern monster, are embedded in a set of deeply symbolic structures that are a matter of religious thought. The author draws from her ethnographic work in Haiti to argue that the zonbi is at once part of the mystical arts that developed there since the colonial period, and comprises a form of mythmaking that represents, responds to, and mystifies the fear of slavery, collusion with it, and rebellion against it. In turn, some elements of the Haitian zonbi figure can be found in patterns that haunt recent American zombie films. Zombies in these films are read as figures in a parable about whiteness and death-dealing consumption. This essay suggests that the messianic mood surrounding the presidential candidacy of Barack Obama was consistent with a pattern in zombie films since the 1960s where many zombie-killing heroes are figured as black American males. Zombies are used in both ethno-graphic and film contexts to think through the conditions of embodiment, the boundaries between life and death, repression and freedom, and the racialized ways in which humans consume other humans.

Read or purchase the article here.