Titlebook: Race, Gender, and Sexuality in Post-Apocalyptic TV and Film; Barbara Gurr Book 2015 The Editor(s) (if applicable) and The Author(s) 2015 A

Subjugate

Budget

北京人起源

Woman as Evolution: The Feminist Promise of the , Film Seriesing rooms. Perhaps the clearest evidence of a zombie revival is the record-breaking 17.3 million viewers who tuned in to watch the season 5 premiere of . on cable in October 2014. Today’s zombie flicks are the descendants of George Romero’s .—“the Patient Zero of zombie movies and the patron saint of every horror film made after 1968.”

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Libido

“We Don’t Do History”: Constructing Masculinity in a World of Blood at the gate that are terrifying: other human beings, more specifically here men, are frequently far more dangerous than the vampires. In ., cultural stereotypes of masculinity replicate and reinforce gendered norms about male violence and emotional distance.

江湖郎中

Organisms and Human Bodies as Contagions in the Post-Apocalyptic State discourse on insider-outsider social divisions and relationships of power. Finally, I elucidate the argument that post-apocalyptic film and television reinforce the primacy of centralized political authority, namely the State, and post-9/11 post-apocalyptic film in particular reinforces the hegemony of the State.

Comprise

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CLIFF

Masculinity, Race, and the (Re?)Imagined American Frontiersterns that defined Hollywood cinema for so long, probably something by John Ford, preferably starring John Wayne (you could substitute Clint Eastwood). Or … maybe it’s the far, far away galaxy of the original . trilogy (1977, 1980, and 1983). It could be the post-apocalyptic setting of Joss Whedon’

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Gender in the Aftermath: Starbuck and the Future of Woman in und gender, gendered identities, feminism, and post-feminism cohere. Originally conceived for television in 1978, . was a science fiction series that followed the human survivors of a 1,000-year war with the Cylons, a race of warrior robots. Though there have been several spin-offs, the most success