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If you are alive these days, and not already part of the undead masses yourself, you probably have noticed a staggering increase of zombie references in film, television, pop culture, videogames and the internet.

For instance, the big screen and small screen have both hosted a plethora of zombie films, e.g., 28 Days Later (2002), Shaun of the Dead (2004), and I Am Legend (2007). On television, we have seen the recent success of AMC’s The Walking Dead. And if you are on a college campus, you have probably seen undergraduates playing “Zombies Vs. Humans,” a game of tag in which “human” players must defend against the horde of “zombie” players by “stunning” them with Nerf weapons and tube socks. In videogames, we have seen the success of the Resident Evil franchise, Left 4 Dead, and Dead Rising. Finally, the internet is awash with zombie culture. From viral videos of penitentiary inmates dancing to Michael Jackson’s “Thriller,” to post-apocalyptic zombie societies, fansites, and blogs.

But what is the zombie and where does it come from?

What makes the zombie unique from other movie monsters is its unique place of origin. Whereas Frankenstein, Dracula, and the Wolfman all have ties to the Gothic literary tradition, the zombie stands apart in having a relatively recent (and proximal) origin. Theorists of zombie culture (such as Kyle Bishop or Jamie Russell), attribute the origin of the zombie to Haitian folklore and the hybrid religion of voodoo. But the zombie didn’t make its away into American culture until the 1920s and 30s, when sensationalist travel narratives were popular with Western readers. Specifically, W.B. Seabrook’s book The Magic Island, is often credited as the first popular text to describe the Haitian zombie. Additionally, the work of Zora Neale Hurston (specifically her 1937 book Tell My Horse) explores the folklore surrounding the zombie in Haitian mythology.

(Still from I Walked with a Zombie, 1943)

With the development of the motion picture, the zombie became a staple of horror, and a popular movie monster. The zombies of White Zombie (1932), Revolt of the Zombies (1936), King of the Zombies (1941), and I Walked with a Zombie (1943), however, were not the cannibalistic creatures we now know. These zombies were people put under a spell, the spell of voodoo and mystical tradition. In these films, the true terror is not be being killed by zombies, but of becoming a zombie oneself.

Bela Lugosi as ‘Murder’ Legendre, the mad scientist and his zombie slave:

 

What all these films have in common is their depiction of Voodoo and Haitian culture more generally as dangerous, menacing, and superstitious. Those who study colonial history note that the messages contained in these films present stereotyped versions of Haitian culture aimed largely at satisfying a predominantly white audience. Many of these films also contain an all white cast, with several members in blackface serving as comedic relief for the more “serious” scenes.

It’s interesting to see how the zombie has morphed into the cannibalistic creatures we now know. While the original zombie is a powerful metaphor for fears of the non-white Other and reverse colonization, the contemporary zombie largely reflects contemporary fears of loss of individuality, the excesses of consumer capitalism, environmental degradation, the excesses of science and technology, and fears of global terrorism (especially more recent renditions of the zombie post-9/11).

For instance, George A. Romero’s famous Night of the Living Dead (1968), the first film to feature the flesh-eating zombie, is often remarked as a not-so-subtle allegory to the Civil Rights Era and the militant violence perpetuated by Southern states against the Black protestors, as well as a critique of the Vietnam War. Romero himself has stated that he wanted to draw attention to the war through the images of violence contained in the film.

Cannibal zombies in Night of the Living Dead (1968):

Similarly, the Italian zombie horror film Let Sleeping Corpses Lie (1974) reflects fears of environmental degradation and pollution. In this film, the zombie epidemic is caused by an experimental pest-control machine, which sends radio waves into the ground. Although it solves the local pest problem for farmers, it also reanimates the dead in a nearby cemetery.

Zombie consumers in Romero’s second zombie flick Dawn of the Dead (1978):

Later zombies are used to symbolize the excesses of capitalism and militarism, respectively.  For example, in 28 Weeks Later (2007), we see the decay of social structures across the globe, as institutions that are supposed to protect us inevitably fail to do their job.  In this scene, protagonists attempt to escape the city just before the military firebombs it:

As we can see, the zombie has a unique cultural history and serves as a powerful metaphor for social anxieties. This movie monster might have come out of the Caribbean, but it became a powerful representation of modern fears when it met the silver screen. Perhaps the current failure of global social structures (global terrorism, environmental catastrophes, and the current economic downturn) has prompted the most recent “Zombie Renaissance.” Or maybe we are just gluttons for the “everyman” tales contained in each rendition of the zombie apocalypse, a point made by SocProf several months back. I do not know what the future holds, but one thing is certain: the zombie will continue to haunt us from beyond the grave.

David Paul Strohecker is getting his PhD in Sociology at the University of Maryland. He studies cultural sociology, theory, and intersectionality. He is currently working on a larger project about the cultural history of the zombie in film.

Reader Clifford McC. and his (female) partner both receive Bicycling magazine (which, he explains, is more of a free advertisement that they get whether they want to or not).  In any case, this month’s issue was the 2010 Buyer’s Guide and, though the issues each received were identical, the one addressed to his partner was stickered:

The sticker read, “BONUS! SPECIAL WOMEN’S SECTION.”

Perhaps they were trying to be inclusive, but a sticker advertising a special women’s section just goes to show that the magazine is, first-and-foremost, for men.

For the same phenomenon elsewhere, see our posts featuring websites selling dinosaur toys and Legos(see “exhibit three”), each with a special section for girls.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

Readers responded so positively to our post featuring the lego ad from the 1980s that was just so… human.  The girl in the ad reminded us how hypergendered advertising has become.  I offer the ad below in the same spirit (from Vintage Ads).  Three people, who look like people, saying stuff about tires:

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

Consider this a catch-all post showing the many ways in which marketers use the excuse of gift-giving to reinforce gender stereotypes.

Exhibit One: Katrin sent along this example from Zazzle.  She writes:

The gift guide section is great… Men fish, hunt, are tech nerds, BBQ kings, and are in the military.  And, if you really have to, there is a “Metro Man gift” section as well. Women are animal lovers, spiritual, environmentalist, interior designers, teachers, brides, sorority members AND they “support the troops” as military wives. Of course THEY are NOT soldiers. Just like men cannot be married to and much less, support, a woman in the military.  The only thing men and women have in common?  The 80s.

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Exhibit Two: Keely W. sent along this delightful gift suggestion. Moms, need a gift that costs just a little but seriously pays off? Buy your daughter these eyebrow tweezers! They’ll make for hours of wonderful mother-daughter time! Here’s to the intergenerational transfer of patriarchal beauty standards!

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Exhibit Three: Maggie G. sent in these screen shots from the Lego website.  First, notice that, just as with the dinosaur website we posted about recently, legos are assumed to be for boys, unless they are specifically for girls.  The girls category in the bottom row makes all the other categories, by default, for boys:

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If you click on girls, you get two options, Belville and Preschool:

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Here’s what the Belville sets look like (all pink with horsies, puppies, and fairies!):

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Legos aimed at younger kids are, I guess, gender-neutral… which is consistent with the increasingly pressure to gender-differentiate as kids get older:

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Got any more gendered x-mas guides?  Send them in and I’ll start a post for next year.

See also this post on gendered gift-giving guides.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

My besties gave me a copy of the target toy catalog for 2009 and pointed out the front cover.

At first i thought it was just your typical run of the mill gender socialization propaganda…

White girl on the cover? Check.
Is she wearing pink? Check.
Is she wearing a tiara? Check.
Is she wearing a tutu? Check.
Is the tutu pink? Check.
Is she smiling? Check.
Is she playing with barbie? Check.
Is there a little boy in the image? Check.
Is he doing one of the following: making a mess, eating something or expressing anger? Check.

Ok, the basics are covered.

But upon further inspection, I realize that the barbie is holding Lego flowers…. and… wait a minute… are those church bells I see?!  …

That little boy isn’t just upset because she is playing with his (read: a boy’s) toy… He is mad because she is marrying them!

So not only do we have an image of a smiling white girl wearing a pink tutu and tiara playing with barbie while a little boy is expressing anger… but we can add heteronormative relationships and male aversion to marriage to the list.  Yay!  The only things missing are caption bubbles:

As a silver lining I like to look at this image and imagine that the little boy is upset for other reasons…

Or maybe the little boy is a radical activist:


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Monica is teaches ethnic studies and works with survivors of interpersonal violence.  She blogs at The Woes of a Barren Lesbo and recently wrote an irreverent take-down of the cover of a Target holiday catalog.  We thought you’d enjoy her humor and creativity.

If you would like to write a post for Sociological Images, please see our Guidelines for Guest Bloggers.

Following up on a previous post about gendered gift giving guides at Lego and Toys R Us, I discovered something interesting.

I was intrigued by the Toys R Us guide because it asked the buyer to specify the gender of the child, but then tended to have more or less the same “personality” and “interests” options.  For example, below are the choices for girls and boys.  You’ll see that they are very similar.

Girl personalities:

girl personalities

Boy personalities (same, sans “Glamour Girl”):

boy personalities

Girl interests:

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Boy interests:

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So, why even ask about gender, I wondered?  I did a test.  For both boys and girls ages 12-14, I checked “techie” and “building” to see what I would get.

What I got was rather fascinating.  I can’t remember where I originally heard it, but someone somewhere observed that when it came to technology, there was a stereotype that men were  the engineers and designers and women were the consumers and users.  That is, both men and women might like technology, but men were active in producing technology and women just got to benefit from men’s hard, brainy work.

Well, that’s essentially what Toys R Us told me.  Remember, for both boys and girls, I checked “techie” and “building.”  Here is the top 24 gift suggestions for boys:
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So that’s 13 building/engineering games (like Lego and KNEX), 3 ipod accessories, 4 portable DVD players, 2 MP3 players, and a few other things.

What do girls get?  Seven ipod accessories, 5 portable DVD players, 4 MP3 players, 3 laptop computers, 3 cameras, and one building/engineering game.  One.
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Sure enough, Toys R Us confirms that girls may like technology, but boys build it.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

Duplo blocks are made by the Lego company.  They are like legos, but bigger and chunkier (less swallowable).  Like this:

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Amanda R. captured this screenshot on the Duplo website:

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Apparently, if you’re going to buy Duplos for some little kid, the very most important first piece of most vital information you will ever need before you ever ask anything else is whether or not the kid has a penis or a vagina.

Meanwhile, Elisabeth R. found exactly the same thing at the Toys R Us website:

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Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.