A few years ago, at the NeMLA Conference, I presented a paper on representations of capitalism in The Amityville Horror, The Stuff, and Day of the Dead. Since then, I’ve revised the essay and focused more on the singular movies, including George A. Romero’s Day of the Dead, the last film in his initial zombie trilogy, which began with Night of the Living Dead in 1968. While that initial trilogy still feels biting and important as whole, right now, Day of the Dead feels most relevant for its critique of capitalism and hypermasculinity. It’s also the only film from that trilogy to feature a female protagonist.

Day of the Dead is a cynical conclusion to the initial trilogy, a film where fascistic military men rule. Yet, unlike Night and Dawn, Day proposes some potential alternatives to capitalism. That makes it radical, and, coupled with its critique of toxic masculinity through the might makes right military characters, Day resonates right now, especially for its female perspective.

After a lot of revision, my essay on Day of the Dead finally found a home at Bright Lights Film Journal. You can read it here.