Articles about “Warm Bodies”
R and Julie – star-crossed lovers, she’s a cute girl with an aggressive father, he accidentally killed someone she loved oh and he’s a zombie.
An occupational hazard of researching zombie news is that I have seen way too much promo coverage for this movie. I’m not sure if that makes me less interested but I almost rather see “Bullet to the Head”. See Fox debate: Zombie love or Stallone action? Maybe neither!
Maybe rent “White Zombie” again? See Slant’s review of the remastered DVD but like the NYTimes review of the same DVD, prefers the “raw” version “a grainy, more authentic-feeling version of the film packaged with the disc’s extras”, concluding:
It’s tempting to connect this primitive zombie feature with Jonathan Levine’s Warm Bodies, the latest of many revisions on that post-Romero generic model. In both, zombie-ism is more of spell than irremediable diagnosis, the kind of thing that can be broken by the soppy rule of true love. If Levine’s film seems like little more than opportunistic cash-in on the runaway success of the Twilight filims, then White Zombie seems no less a similar redoubling on the success of Browning’s Dracula and especially Lugosi’s enigmatic screen presence. At their apex of their allegorical authority, zombies may fundamentally destroy. But that doesn’t mean their inexhaustible popularity as monster du jour can’t be harnessed to the whims of real-deal market maneuvering, their principally anarchic menace yoked to the proverbial voodoo master of capital.
Also in TIME: “Hearts, Not Brains: Why Zombies Are the Newest Big-Screen Heartthrobs” by Graeme McMillan:
For Isaac Marion, who wrote the original novel, the incongruity of an undead romantic lead was part of the initial creative impulse. “I’d never heard anyone treat these creatures as individuals, something that would have a perspective,” he explained in the film’s production notes. “They’re anonymous and mindless. [Exploring zombies as individuals as a] concept really fascinated me.”
Others argue that the zombie myth as we recognize it today has its roots in less-palatable sexuality. In her paper To Say Death’s Name: The Ever-Changing Definition of the Zombie in Popular Culture, Erin Burns-Davies, a faculty member at Florida‘s Broward College, describes the 1943 movie I Walked with a Zombie by noting that the voodoo practitioners trying to raise the undead do so using “eroticized rituals of hip thrusting and drum banging.” That movie is also referenced by Joshua Gunn and Shaun Treat in Zombie Trouble: A Propaedeutic on Ideological Subjectification and the Unconscious from a 2005 edition of the Quarterly Journal of Speech in which they note that it and 1944′s similarly-themed The Voodoo Man “repeatedly revisit titillating possibility of female sex slaves as a standard plot.”
Link to “To Say Death’s Name: The Ever-Changing Definition of the Zombie in Popular Culture” by Erin Burns-Davies referencing cognitive scientists George Lakoff and Mark Turner:
Several cognitive linguistic texts, particularly those by George Lakoff, are useful in contextualizing the term “zombie” as a creature between life and death. To clarify, because death is a concept we cannot truly perceive, we often associate the idea as a journey (Lakoff, More Than Cool Reason). The zombie, therefore, contradicts this final rite of passage, at once disrupting the natural order and also defying the sense of our own extinction
According to cognitive linguist Mark Turner, there are metaphors for events as movers and manipulators, and the ubiquitous special case of this is death. “It comes upon you,and you become a physical object it manipulates” (47). Considering this concept then, the zombie is a literal representation of that metaphor that hunts and removes.
“Death took her from us” or “The Grim Reaper took her from us” signify causation for a sequence in the phase of life we know well but cannot fully understand (qtd. in Lakoff and Johnson, Philosophy in the Flesh 212).
Kyle Bishop, in his essay on the nonliterary origins of zombie cinema, cites Freud’s discussion on what we consider to be unheimlich, a complicated German term that basically translates to “un-homely” or “un-homey,” but that is generally understood in English to mean “uncanny”
At Wired, Zombie Research Society neuroscientist Bradley Voytek quoted in “A Pseudo-Scientific Analysis of Warm Bodies and the Zombie Tropes It Defies” by Angela Watercutter:
the lack of full explanation for the cause of the zombie-ism, glossing over this reasoning helps move the story along, instead of getting it caught in the nitty-gritty. “The story actively prevents us from thinking about it or rationalizing it, which I think is good here and works well, as any attempt at a scientific discussion here would fall flat,” Voytek said.
See also “How Brain Damage Patients Helped Rob Corddry Understand Zombies In Warm Bodies” by Eric Eisenberg:
How do you prepare for an audition for a role as a zombie?
Well, my wife works with brain injured patients as a speech pathologist, so I asked her a lot of questions about brain injuries and read a little bit about brain injuries, and tried to imagine that I was maybe not quite fully conscious, but that I had a lot that I wanted to express, but the synapses between creation and mouth were just not really there. Which is the way I think about it. And it worked! It really, really worked. There are just some things that make you think of something, and then you do stuff out of habit- – which I really love, that idea in the film. So that was my preparation, basically.