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Screening the Apocalypse: Zombies, Visual Art and the Grotesque in the Aftermath of Social Trauma.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Screening the Apocalypse: Zombies, Visual Art and the Grotesque in the Aftermath of Social Trauma./
作者:	Castro, Heather L.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
面頁冊數:	466 p.
附註:	Source: Dissertations Abstracts International, Volume: 83-03, Section: A.
Contained By:	Dissertations Abstracts International83-03A.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28648629
ISBN:	9798538103874

Screening the Apocalypse: Zombies, Visual Art and the Grotesque in the Aftermath of Social Trauma.
Castro, Heather L.

Screening the Apocalypse: Zombies, Visual Art and the Grotesque in the Aftermath of Social Trauma. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 466 p.

Source: Dissertations Abstracts International, Volume: 83-03, Section: A.

Thesis (Ph.D.)--Temple University, 2021.

This item must not be sold to any third party vendors.

This project explores the zombie's status and function as an artistic traumatic grotesque within the 2000s. Coined as a grotesque "stream" by art historian Frances S. Connelly, the traumatic grotesque interrupts established visual norms by presenting contemporary social anxieties in monstrous form. Though a historically filmic monster, the zombie made its formal and enduring appearance in visual art amid the near-continuous cultural traumas of the 2000s. My goal was a better understanding of how the zombie, as expressed in art and film, embodies the traumatic imagery and psychology of three specific tragedies. They are: Britain's 2001 Foot and Mouth disease outbreak, Damien Hirst and Jenny Saville, and Danny Boyle's 28 Days Later (2002); 9/11, Dana Schutz's "Self Eaters" series (2003-2005), and George A. Romero's Land of the Dead (2005); and the 2008-2010 Great Recession, Jillian McDonald, and AMC's The Walking Dead Season Four (2013-2014).The zombie's iconographic crossover marks art history's need for a detailed history of both zombie symbolism and how the social contexts of past and present iterations affect the monster's function and reception. I used a combination of semiotics, psychoanalysis and critical theory to begin that examination. First, a brief historiographic analysis of grotesque theory establishes the artistic construct's evolving "yes, and..." semiotic functions. From within a socio-historical breakdown of zombie movies, the monster uses its grotesque characteristics to critically challenge the viewer's social identity. During cultural trauma, sociological and psychoanalytic effects transform the zombie into a traumatic grotesque. By invoking viewer identification and traumatic memory, the zombie traumatic-grotesque engages individual viewers in self-realized moments of either progressive or traditional cathartic trauma processing.

ISBN: 9798538103874Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

Schutz, Dana

Screening the Apocalypse: Zombies, Visual Art and the Grotesque in the Aftermath of Social Trauma.
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