Zombies and Sexuality: Essays on Desire and the Living Dead (Contributions to Zombie Studies)
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Since the early 2000s, zombies have increasingly swarmed the landscape of popular culture, with ever more diverse representations of the undead being imagined. A growing number of zombie narratives have introduced sexual themes, endowing the living dead with their own sexual identity. The unpleasant idea of the sexual zombie is itself provocative, triggering questions about the nature of desire, sex, sexuality, and the politics of our sexual behaviors. However, the notion of zombie sex has been largely unaddressed in scholarship.
This collection addresses that unexamined aspect of zombiedom, with essays engaging a variety of media texts, including graphic novels, films, television, pornography, literature, and internet meme culture. The essayists are scholars from a variety of disciplines, including History, Theology, Film Studies, and Gender and Queer Studies. Covering The Walking Dead, Warm Bodies, and Bruce LaBruce's zombie-porn movies, this work investigates the cultural, political and philosophical issues raised by undead sex and zombie sexuality.
Consciousness is invisible and intangible because it is introspective and metaphysical. This is not to suggest that all mental states are manifested in behavior. 5 Rather, when Regina turns on Ryan, that behavior evinces a signiﬁcant change in her consciousness. The action violates Regina’s conscious will to maintain the sociosexual relationship she shares with Ryan, and manifests an ontological shift away from her identity as a human. Although she does not become a full-blown nonconscious zombie before the end credits roll, Regina overtly becomes less human and more akin to a zombie as the text progresses.
The 1966 theatrical trailer also invites such comparisons, promising cinema patrons a view of a “place dominated by men without morals, where blood lusts are excited by hunting a human quarry. ” 6. “Walter” is the nom-de-plume of an anonymous Victorian author, famed for his volumes of sexual odyssey. 7. Victoria herself was remarkably fecund and was pregnant for much of her married life. She gave birth to princes and princesses who married into almost all European royal families including the Prussian, Danish and Greek.
Although “stay[ing] away” means negating sociality, her intent is social in orientation since it recognizes her duty to defend others. Regina’s conﬂict is most notable in her key social relationship: her love for Ryan. Regina wishes to maintain their affiliation, imploring, “I need your help,” and angrily accusing Ryan of “ditching [her] when [she] needed [him] most. ” Simultaneously, by keeping Ryan close, Regina poses a threat to his safety. Although Regina longs to maintain her social links in order to evince her humanity then, in doing so she risks eradicating those bonds.
Carl nods gravely. “Well you go on, boy, and you do what you gotta do. ” Rick stands with Lori and the others and they proudly watch their son have sex with Soﬁa, and ejaculate in her mouth to kill her. Throughout the scene, the ﬁlm cuts to Lori and Rick giving hand signals and thumbs up signs, encouraging and instructing their son. The zombie herself is unable to direct or instruct, despite appearing to take on an active role by participating in the cowgirl position, for example. As if serving as a reminder of the various inconsistencies, contradictions, and outright absurdities that Joseph Slade has argued are 174 Zombies and Sexuality among the primary pleasures of pornographic texts (41), a car horn, the beeping of a reversing delivery truck, and other traffic sounds can be heard during this sex scene, rupturing the notion that the characters occupy a desolate apocalyptic landscape.
A Love Worth Un-Undying For—Cocarla 69 R: “What? ” M: “Living … sex. ” I give him a warning look. M: “She’s … hot. I would—“ R: “Shut up. ” He chuckles. M: “Fucking … with you. ” R: “It’s not … that. Not … like that. ” M: “Then … what? ” I hesitate, not sure how to answer. R: “More. ” His face gets eerily serious. M: “What? Love? ” I think about this, and I ﬁnd no response beyond a simple shrug. So I shrug, trying not to smile. M: “You … okay? ” R: “Changing” [Marion 50–51]. And later, while reﬂecting on the same conversation with M, R recalls: M: “How can you change?