Abstract
This article starts with a hypothesis that the sociological analysis of literary and film production on the ‘living dead’ in the 21st century, owing to the triumph of neoliberalism that has accompanied by the process of globalization, allows us to better understand the transformations that act on the population and the individuals that integrate it. The zombie genre, considered a dystopia -where the scenario of the uncertainty surrounding the risk has happened to that of the catastrophe- reflects the split between resilient and redundant population, inviting us to explore three fundamental features: 1) the causes of this split; 2) The construction of a new subjectivity that accompanies it; and, 3) the displacement of bio politics to the thanatopolitics that accounts for the fracture between liberalism and neoliberalism. Dystopian thinking, based on detecting the germs of negative evolutions in the present, the causes and their possible consequences, posing different scenarios for the future, can be understood as a method of cosmopolitan sociological analysis, which ends in what Ulrich Beck described as emancipatory catastrophism, that is, not only to identify the seeds of the negative, but the good of the bad.
Highlights
Specialty section: This article was submitted to Sociological Theory, a section of the journal Frontiers in Sociology
This article starts with a hypothesis that the sociological analysis of literary and film production on the “living dead” in the 21st century, owing to the triumph of neoliberalism that has accompanied by the process of globalization, allows us to better understand the transformations that act on the population and the individuals that integrate it
The main objective of this text is to analyze the productions of the zombie genre in the twenty first century, based on the hypothesis that has become dystopia that explores the extreme effects of neoliberalism on the populations, on the government, and on the process of subjectivation
Summary
Specialty section: This article was submitted to Sociological Theory, a section of the journal Frontiers in Sociology. The main objective of this text is to analyze the productions of the zombie genre in the twenty first century, based on the hypothesis that has become dystopia that explores the extreme effects of neoliberalism on the populations, on the government, and on the process of subjectivation. This objective is complemented by the hypothesis that the dystopian procedure -identification of negative tendencies, analysis of the implications of governance and individuals, and the construction of possible future scenarios- constitutes in itself a method that connects with the origin of sociology. The weight of the film industry in the production of zombie fiction in the twenty first century adds a particular element as it responds much more to the dialogue that holds with the public in the form of an audience, representing societal dynamics that reflect social imaginary significations (Southerland and Feltey, 2013)
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