If there is a zombie movie that I would have to recommend to anybody, it would be 28 Days Later. This movie is the modern depiction of what the monster Frankenstein has evolved to, what the zombie movies will be like in the 21st century. The movie was breath taking, involving lots of action, gore, fast passed, sex, betrayal, patriotism, and many other passionate themes worth talking about.
There are a lot of things to think about and discuss, and many conclusions can arrive from different perspectives. But first of all, it is pivotal to understand how the disease started: as animal liberation activists that broke off into a laboratory with the intention of setting free some chimpanzees, of which one was infected, and attacked the group. This to me is extremely 21st century. Now, was this mirroring AIDS and how it all started, and wanted us to reflect and not deal with animals as much not necessarily for their rights but for our protection? Since the chimpanzees were infected and were being used for research purposes, was it a shout for the real life to stop or reduce the animal research and the tests that are being done on them? Regardless, the movie touches on a delicate subject that, like has been in several of our last movies and books, the authors, like the one from the Road, McCarty, do so as well. It brings up an issue that rarely makes the news and its extremely controversial.
The movie then continues, now centering on the main character, Jim, and how he wakes up, after 28 days of being hospitalized from a coma, to find London deserted. This indicates to me that the director is trying to say that sometimes living in ignorance prevents pain, suffering, or drama. It would be great to know what you guys think. After surviving the zombie attacks, he finds Selena and Mark, then meeting other groups of people, and just like other zombie movies, many die or have to be killed because of the infection. This brings up the theme of human sacrifice, and just.
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Wesley Richardson 28Dayslater28Days letter in my opinion is one of the best zombie films that has been produced in my generation and revitalized the Zombie genre. This is one of my favorites because of its intriguing story line and a great acting performance by all characters. 28dayslater provides a plethora of horror engineering, social attitudes, as well as social critique. Released in 2002, 28Dayslater draws its viewers in right from the start. At the beginning of the film we see a group of PETA extremists breaking into what seems to be an animal testing facility. This group of people who are breaking into the facility to free a group of monkeys who are being used as science experiments and being injected with what is called the “Rage” virus. As the group goes to break the monkeys out of their fiberglass cages, a scientist who works at the facility catches them in the act. Here is where us viewers are first introduced (briefly) to the rage virus. The scientist warns them that the monkeys are infected with Rage and that what they are doing is extremely dangerous. The scientist begs them not to open the cages but ultimately they end up doing it anyway. The female in the group opens the cage and the infected monkey runs out and attacks the group where the virus first begins to spread. The rest of.
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Katherine Alers Professor Diviani Chaudhuri Coli 280R 28 May 2011 “Infect: (verb) to contaminate with a disease-producing substance or agent (as bacteria)” (Merriam Webster Dictionary). Let’s face it, when the term “infect” is used it is never in a positive manner, especially in horror novels. Who brought the disease? What causes the infection to occur? Where are the “infected” living? When will it stop? These questions are the basis for what Bill Albertini calls the “Outbreak Narrative” (Albertini 443). The conclusive part of the outbreak narrative is what keeps film viewers at the edge of their seats; what draws faces into the depths of the horror novels. In the most successful of horror stories, such as Living Dead, Resident Evil, Fatal Contact, The Hot Zone, Outbreak, etc. fail to approach what Albertini refers to as “containment” (Albertini 444). “When containment does occur in such texts, it rarely suffices to close off the formidable anxieties unleashed by contagion” (Albertini 443). In the film 28DaysLater . there is never a point where the viewer is satisfied with the feeling the horror will no longer return; there is always a chance of it creeping behind again. In order to determine if the outbreak will come to a closure, it must first be examined how to infectious disease arrived in the first place. The premiere scene in the film starts with a zoomed in glimpse of global warfare, fighting.
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scientifically accurate than other pandemic films like 28DaysLater . In the movie 28DaysLater . a group of environmental activists break into a science facility to expose the use of chimpanzees as test subjects. As they release the chimpanzees, a scientist warns them that the animals are infected with a virus called “Rage” transmitted through a bite. The virus causes its hosts to enter a permanent primal state of murderous rage. The hosts aim to spread the infection and kill the uninfected, even to the point of having no self-preservation. The infected does not care for its own well-being; in the movie they do not evade any mortal danger. The brain continuously pumps adrenaline into the host’s system giving them extreme endurance and strength. As the virus outbreaks after the release of the chimpanzees it had developed into a bloodborne virus. The virus is able to transmit through saliva and blood. When one is becomes infected the symptoms start showing in a matter of seconds. So it takes a short amount of time for the virus to incubate in the host’s system which is unrealistic for a virus to act so fast. In Contagion on the other hand it had a more probable fictional virus. The virus came from a bat-pig hybrid and they called MEV-1 virus. The MEV-1 virus causes coughs, fever, severe headaches, seizure, brain hemorrhage and ultimately, death. Although it also has a fast incubation.
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the UK 28DaysLater has all the elements that make a movie scary, from terrifying creatures to compelling acting. Another thing that can make a movie particularly scary is the camera work. A horror movie is usually shot with a filter to make it appear as dark as possible. Also, camera angles have a large part of establishing tension in a horror movie. One overlooked aspect of camera work, is the use of digital film. 28DaysLater takes full advantage of this developing medium and as a result, the movie is significantly more horrifying. The director of 28DaysLater . Danny Boyle, utilizes digital film in the movie. By using this style of camera work, it gives the film a grittier look. Combined with the amateur talent, the use of digital filming makes it appear that the events in 28DaysLater are actually happening, which is a scary proposition. The use of digital film also adds unusual and surreal contrasts to the normally gritty world of 28DaysLater . One of the most obvious examples of this is when the protagonists pass a field of flowers on their way to Manchester. The bright color of the flowers almost resembles an abstract picture when compared to the bleak surroundings of the highway. Another example is of the buckets placed on the roof of the apartment to.
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Mise en scene analysis of a sequence in 28DaysLater28dayslater is a controversial, contemporary noir, horror hybrid, directed by Danny Boyle and released in 2002. The film contains themes of escapism, fear, religion and rationalizes zombies to create fear for a contemporary audience. As Danny Boyle didn’t want to create a ‘run of the mill’ zombie cliché, he chose to run the idea of fear than illness, something society has created so the fear (virus – rage) becomes a psychological sickness in the film. The film follows Jim awakening 28days following the infection, after he was in a coma. While trying to rationalize seeing a deserted London the first infected he encounters is a priest, which shows the modern day disillusionment of religion as a priest is whom you usually seek sanctuary from. He begins a quest to seek others in his confused state. During his ‘quest’ he is saved by the female protagonist; Selena who shows her only priority of surviving. The only other female character in this film is Hannah-Megan Burns, who has an internal conflict; to stay who she was during the equilibrium or to adapt to the new equilibrium. My chosen sequence shows her character at the climax of her attempt to stay innocent prior to the infection/disruption. Mise en scene plays a prominent part in the sequence which shows Hannah’s adapting to the world.
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A Night At The Movies: NAME: Date: 7/3/12 Points: ________/7.5 MOVIE: 28Days 1. Briefly describe the plot of the movie: Gwen (Sandra Bullock) plays a party girl journalist from New York. Her sister is an uptight controlling bride to be. They were raised by an alcoholic single mother. At her sister’s wedding she arrived late and added another great disappointment to her sister as she fell into the cake and stole the limo to find a cake store. Gwen then crashed into a house and was ordered by the court to go to jail or to check in to a Rehab Center. As she arrives to the rehab center she finds herself uncomfortable and does not participate in the group activities. Gwen falls out of a window and sprains her ankle after trying to retrieve the Vicodin she tossed. She is in severe denial of her alcohol problem and so is her boyfriend who comes and takes her out to get drunk. When she returned, the counselor was upset and threatened to kick her out and send her to jail. Gwen then realizes she needs to take her situation seriously and start to participate. She becomes friends with the other patients and becomes close to her teenage roommate there for heroin abuse. Gwen starts to understand her past and tries to make amends with her sister. Her boyfriend still is not taking her situation seriously and asks her to marry him. He also brings a bottle of champagne to celebrate. She tries to explain how her wants and needs are.
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Shelby DiRoma 04-24-13 ACD 140 Professor Wilson 28Days In the beginning of this movie Gwen is depicted as a “party girl”. She lived an inconsistent, unorganized and unidirectional life. She was impulsive and inconsiderate of the people in her life. This can be true for most people suffer with an addiction. Gwen’s use was not restricted to her night life it was a fixed part of her daily life. She was abusing not only alcohol but prescription pills also. Gwen’s use most likely derived from her mother’s use when she was a child. This is correspondent with the family model we reviewed in class . In this model addiction is incorporated in every aspect of family life. It is believed that addiction is a family disease. Thus Gwen’s mother’s use was most likely the cause of her use as an adult. Growing up in the dysfunctional environment created by her mother influenced her development. This in turn created this idea that fun equaled use. As a result of Gwen’s uncontrollable actions and subsequent addiction she was court ordered to rehab. For Gwen rehab was a comical feel good program that could not be taken seriously. At one point in the movie she described it as a 12 step Mr. Rogers’ geek fest. Her idea of rehab was framed by her inability to relate to the idea of a sober lifestyle. For Gwen being sober was no fun. There were numerous flashbacks shown in the movie of Gwen’s childhood memories of incidents with her.
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Imran 1 Fatima Imran Mr. Cimetta ENG3U Topic 5 5 November 2013 Fatal Mistakes Everyone has committed some mistake in the past that they have been resentful about later and it proved to be a major problem later on. Such circumstances have been faced by everyone and either they learn from their previous mistake to never repeat it again or they never get a second chance. Being granted a chance or redemption depends upon the out come. But to be oblivious the chances being granted and to keep repeating the mistake eventually leads to downfall and sometimes death as well. Such a character was explored by William Shakespeare in the play Othello, Desdemona who was a young and beautiful wife of a black general, Othello. In the play Othello, Desdemona fell deeply in love with Othello. She was extremely loyal and faithful to the heretical general. Desdemona died at the end of the play as a result of many mistakes she made upon handling her relationship with Othello. She lost the hanker chief that Othello had given to her as a token of love, affection and trust. But the truth was Iago had his wife steal it for him and planted it in Cassio’s room so he could persuade Othello that Desdemona was unfaithful to him with Cassio and the hanker chief was a proof of her disloyalty. Arguably, the first mistake that she ever made was insisting Othello to reinstate Cassio as his lieutenant. After the devised downfall of Cassio, Desdemona dedicated herself to speak on.
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’28 days later’ and ‘Shaun of the Dead’ are both a zombie film, which is a sub-genre of horror. However their genres are extremely different because ‘Shaun of the Dead’ is also a comedy.
Both of these films use typical conventions of the zombie genre. For example, they both use the convention of desertion and loneliness. In ’28 days later’, Jim comes out of the hospital to a completely deserted city (London). This convention helps create unease in an audience, especially when these scenes are set in places that are usually crowded i.e. we expect cities to be full with people and therefore it is very disturbing when we see them completely abandoned. In ‘Shaun of the Dead’ there is dramatic irony as the audience realises there is something wrong a long time before the protagonists do. However this adds to the protagonists’ vulnerability because they will not be expecting anything and therefore will not be prepared.
The unease created by this convention is played on in ’28 days later’ by having several extreme long shots of the city which shows the audience that everywhere is deserted (not just the are where Jim is). The mise-en-scene is extremely important in this scene because props such as abandoned money and an abandoned car make is appear as if everyone has just dropped their possessions and run. This emphasises the feeling that something terrible has happened.
The zombies in each film resemble each other in the way that they are always covered in blood, and (although different in the two films) there is an emphasis on their eyes. In ’28 days later’, their eyes are blood red and this is shown right from the beginning sequence and used throughout the whole film.
Another generic convention that both of the films use is the ide.
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. rushing to save some others, Phillip is saying things like “Do you realise this is a 20mile zone?” Another example is the garden scene where Shaun and Ed are taking time to decide which records to throw at the zombies even though it is a race against time sequence as the zombies are approaching them.
However, in the pub scene, ‘Shaun of the dead’ starts to show a lot more typical conventions of the zombie genre.
In both ‘Shaun of the dead’ and ’28 days later’ there is a typical convention of this genre used, which is that there are only a few protagonists compared to hundreds of zombies. For example when the main characters are left in the pub in ‘Shaun of the dead’, there are silhouettes of hundreds of zombies trying to get in through the doors and windows. The convention of being ‘cornered’ is often used general horror films not just in the sub-genre of zombie.
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The last time a Brit tried to make a zombie movie, it turned out to be Resident Evil - a feeble, bloodless, scareless imitation of George Romero's Living Dead cycle. Here, Danny Boyle and novelist Alex Garland (doing a lot better by an original screenplay than in adapting The Beach ) evoke Romero, as survivors try to cope with the evil walking dead and the gun-toting shreds of devastated authority - but they aren't content with mere pastiche.
For a start, they invoke the specifically British roots of this genre. Floating in the mind of 28 Days Later are lasting cultural artefacts passed around or hotly discussed in British school playgrounds for decades: the novels of John Wyndham (the waking-up-in-a-deserted-hospital bit is a nod to Day Of The Triffids ) and James Herbert (one scene hinges on a flood of rats); or the science shock TV series Doomwatch (don't trust the labcoats!) and Survivors (if everyone's dead, what's the point in surviving?).
Depopulated London, stunningly achieved by snatched digi-cam shots of empty streets and abandoned landmarks, with minimal CG employed, is a resonant location. It strikes chords with anyone who has ever wondered what the place would be like without people, and is embedded deep in the psyche by everything from H.G. Wells' War Of The Worlds to Daleks: Invasion Earth 2150 AD. An American film on this theme would start with the survivors gathering guns and using them as if they'd been fighting wars all their lives; here, even the toughest character - hardboiled chemist Selena - isn't that skilled at fending off zombies.
Survivalism is better represented by a tower block rooftop covered with a pathetic array of bright plastic buckets, basins and bins to catch rain that hasn't fallen. It proves that, even after the apocalypse, the weather will still be a national obsession and the scene sets up an unforgettable sudden thunderstorm to accompany the fast, gut-punch, brutal third act.
The power of the film is not that it hasn't been done before, but that it hasn't been done recently. Since the early 1970s, British movies have narrowed their focus to the problems of small groups of people, gnawing over microcosm genres like the gangster heist or romantic comedy. Here, we look at a bigger picture, intensifying the situation for a typically Boyle-like knot of antagonistic, uncomfortable characters. Headlines about Tony Blair and talk about The Simpsons insist that this future is just a step away, but forget the rave scene that might theoretically embrace such anarchy - here, the whole of Manchester is on fire and the only use for mood-altering drugs is to numb the mind to literally unbearable realities.
This may be a stylistic break with previous Boyle movies, but it has a similar structure (he likes games of two halves, with a collection of anecdotes setting up a more concentrated narrative). It even falls back on the essay topics of The Beach. as alternative society turns out to be flawed by reliance on brutality and vulnerable to sudden shark/zombie attacks.
Shot with Dogme-like camcorder veracity by Anthony Dod Mantle, the film has space for lyricism as the survivors briefly make it as happy campers in green, damp countryside. But it also pulls daring tricks with speeded-up motion and blobby bloodbursts to make the horror sequences genuinely jarring in a manner that marks a break with the more traditional effects style of, say, Dog Soldiers.
There is also room for the subtle, character-based chill: the scariest line is Eccleston's whispered, "Slow down," a pregnant phrase overheard just as we realise how bad things really are.
If you look for flaws, they're there. Any film as rough-edged as this flirts with seeming amateurism, while the third act not only borrows almost wholesale from Romero's Day Of The Dead but hammers home the message about man's inherent inner rage a bit too forcefully. But the powerful, broad-strokes performances (both Murphy and Harris have been noticed by Hollywood since) recall an observation made of 1959 nuclear war movie, On The Beach. that it's impossible to judge the acting since what constitutes appropriate behaviour in this situation is anybody's guess.
The best purely British horror/science-fiction film in decades. And the first great apocalypse movie of the new millennium.More from Empire