• United Kingdom • United States Language English Budget $76 million Box office $70 million Children of Men is a 2006 British-American film directed and co-written. The screenplay, based on ' 1992, was credited to five writers, with making uncredited contributions. The film takes place in 2027, where two decades of human have left society on the brink of collapse. Seek sanctuary in the United Kingdom, where the last functioning government imposes oppressive immigration laws on. Owen plays civil servant Theo Faron, who must help a refugee () escape the chaos.

Children of Men also stars,,, and. A co-production of the United Kingdom and the United States, the film was released on 22 September 2006 in the UK and on 25 December in the U.S. Critics noted the relationship between the U.S.

Christmas opening and the film's themes of hope, redemption, and faith. Despite the limited release and low earnings at the box office compared to its budget, Children of Men received wide critical acclaim and was recognised for its achievements in screenwriting, cinematography, art direction, and innovative action sequences. It was nominated for three:, and. It was also nominated for three, winning and, and for three, winning. Contents • • • • • • • • • • • • • • • • • • Plot [ ] In 2027, after 18 years of global human infertility, civilization is on the brink of collapse as humanity faces extinction. The, one of the very few stable nations with a functioning government, is deluged by asylum seekers fleeing the chaos and war which have taken hold around the world.

In response, the UK has become a police state as the British Army round up and detain immigrants. Theo Faron, a former activist turned cynical bureaucrat, is kidnapped by the Fishes, a militant immigrants' rights group. They are led by Theo's estranged wife, Julian Taylor, from whom he separated after their son Dylan's death during a 2008 flu pandemic. Julian offers Theo money to acquire transit papers for a young refugee named Kee, which Theo obtains from his cousin Nigel, a government minister who runs a state-sponsored collection of salvaged art from around the world.

Presentation of theoretical and methodological questions raised. African culture in contemporary Africa; and he then outlines a proposal for a new cultural programme. In 'Form and Expression in African Arts', Ola Balogun intro- duces the reader to the African conception of art, and to its dynamics and modes of expression.

The transit papers require that the bearer must be accompanied, so Theo agrees to escort Kee in exchange for a large sum. Luke, a Fishes member, drives them and former midwife Miriam towards the coast to a boat. They are ambushed by an armed gang, and Julian is killed. Luke kills two police officers who stop their car, and they bury Julian in the forest as Theo breaks down crying over her death.

The group ditches their car for another to escape to a Fishes safe house. Kee reveals to Theo that she is pregnant, as Julian had told her to trust only Theo.

Julian had intended to hand Kee to the 'Human Project', a supposed scientific group in the dedicated to curing infertility; however, Luke persuades Kee to stay, and he is later voted as the new leader of the Fishes. Later that night, Theo eavesdrops on a meeting of Luke and other Fishes.

He discovers that Julian's death was orchestrated by the Fishes so Luke could take over as leader, that they intend to kill Theo in the morning, and that they intend to use the baby as a political tool to support the coming revolution. Theo wakes Kee and Miriam, and they steal a car, escaping to the secluded hideaway of Theo's aging friend Jasper Palmer, a former political cartoonist turned pot dealer. The group makes plans to board the Human Project ship Tomorrow, which will arrive offshore from a refugee camp.

Jasper proposes getting Syd, a camp guard to whom he frequently sells drugs, to smuggle them into Bexhill masquerading as refugees. The Fishes discover Jasper's house, and the group flees while Jasper stays behind to stall the Fishes.

Luke shoots and kills Jasper as Theo watches from the woods. The group waits for Syd in an abandoned school, where Miriam confides in Theo how many pregnancies miscarried at the beginning of the infertility crisis and her sadness at how 'as the sound of the playgrounds faded, the despair set in. Very odd, what happens in a world without children's voices'. The group then meets with Syd and are transported to Bexhill, where they see refugees being beaten, tortured, robbed, and executed by camp guards and police. When Kee's contractions begin on a bus, Miriam distracts a suspicious guard by feigning mania. She is taken away and hooded.

At the camp, Theo and Kee meet a Romanian woman, Marichka, who provides a room where Kee gives birth to a baby girl. The next day, Syd finds them in their room, and informs Theo and Kee that war has broken out between the British Army and the refugees, including the Fishes. Having learned that they have a bounty on their heads, Syd attempts to capture them, but Marichka and Theo fight him off and escape. Amidst the fighting, the Fishes capture Kee and the baby. Theo tracks them to an apartment under heavy fire where he confronts Luke, who is then killed by a tank shell, and escorts Kee and the baby out. Awed by the baby, the combatants temporarily stop fighting; staring at the screaming baby, they allow the group to leave.

Marichka leads Theo, Kee, and the baby to a boat in a sewer, and Theo rows away whilst Marichka stays behind. As they watch the bombing of Bexhill by the Royal Air Force from a distance, Theo reveals that he had been shot by Luke. He tells Kee how to wind her baby to soothe her crying, and Kee tells Theo she will name the baby after his and Julian's lost son, Dylan. Theo loses consciousness from his wounds as the Tomorrow approaches through the fog. 15 September 2006.

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• • • A zombie (: zombi,: zonbi) is a fictional being created through the reanimation of a human. Zombies are most commonly found in and genre works. The term comes from, where a zombie is a dead body reanimated through various methods, most commonly. Modern depictions of zombies do not necessarily involve magic but often invoke methods such as,, mental diseases,,, scientific accidents, etc. The word 'zombie' is first recorded in 1819, in a history of by the poet, in the form of 'zombi'.

The gives the origin of the word as West African, and compares it to the words nzambi (god) and zumbi (). One of the first books to expose Western culture to the concept of the voodoo zombie was The Magic Island by in 1929. This is the sensationalized account of a narrator who encounters cults in and their resurrected thralls. Claimed that the book 'introduced 'zombi' into U.S. Zombies have a complex literary heritage, with antecedents ranging from and to 's drawing on European folklore of the. In 1932, directed, a horror film starring.

Here zombies are depicted as mindless, unthinking henchmen under the spell of an evil magician. Zombies, often still using this voodoo-inspired rationale, were initially uncommon in cinema, but their appearances continued sporadically through the 1930s to the 1960s, with notable films including (1943) and (1959). A new version of the zombie, distinct from that described in Haitian folklore, has also emerged in popular culture during the latter half of the twentieth century.

This 'zombie' is taken largely from 's seminal film, which was in turn partly inspired by 's 1954 novel. The word zombie is not used in Night of the Living Dead but was applied later by fans.

The monsters in the film and its sequels, such as and, as well as its many inspired works, such as and, are usually hungry for human flesh, although Return of the Living Dead introduced the popular concept of zombies eating brains. The ' concept, in which the civilized world is brought low by a global zombie infestation, became a staple of modern popular art. Contents • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Etymology The word 'zombie' is first recorded in 1819, in a history of by the poet, in the form of 'zombi', actually referring to the Afro-Brazilian rebel leader named and the etymology of his name in 'nzambi'. The gives the origin of the word as West African and compares it to the words 'nzambi' (god) and 'zumbi' (fetish). In, a zombie (: zombi,: zonbi) is an raised by magical means, such as. The concept has been popularly associated with the, but it plays no part in that faith's formal practices.

How the creatures in contemporary zombie films came to be called 'zombies' is not fully clear. The film Night of the Living Dead made no spoken reference to its undead antagonists as 'zombies', describing them instead as ' (though ghouls, which derive from Arabic folklore, are demons, not undead). Although George Romero used the term 'ghoul' in his original scripts, in later interviews he used the term 'zombie'. The word 'zombie' is used exclusively by Romero in his 1978 script for his sequel, including once in dialog. According to George Romero, film critics were influential in associating the term 'zombie' to his creatures, and especially the French magazine '. He eventually accepted this linkage, even though he remained convinced at the time that 'zombies' corresponded to the undead slaves of Haitian voodoo as depicted in 's. Folk beliefs Haitian tradition.

A depiction of a zombie, at twilight, in a field of sugar cane. Zombies are featured widely in Haitian rural folklore as dead persons physically revived by the act of of a, a sorcerer or witch.

The bokor is opposed by the or priest and the or priestess of the formal. A zombie remains under the control of the bokor as a personal slave, having no will of its own. The Haitian tradition also includes an incorporeal type of zombie, the 'zombie ', which is a part of the human. A bokor can capture a zombie astral to enhance his spiritual power. A zombie astral can also be sealed inside a specially decorated bottle by a bokor and sold to a client to bring luck, healing or business success. It is believed that God eventually will reclaim the zombie's soul, so the zombie is a temporary spiritual entity.

It has been suggested [ ] that the two types of zombie reflect, a. Each type of legendary zombie is therefore missing one half of its soul (the flesh or the spirit). The zombie belief has its roots in traditions brought to Haiti by enslaved Africans, and their subsequent experiences in the New World.

It was thought that the voodoo deity would gather them from their grave to bring them to a heavenly afterlife in Africa ('), unless they had offended him in some way, in which case they would be forever a slave after death, as a zombie. A zombie could also be saved. A number of scholars have pointed out the significance of the zombie figure as a metaphor for the history of. While most scholars have associated the Haitian zombie with African cultures, a connection has also been suggested to the island's indigenous, partly based on an early account of native practices written by the Hieronymite monk, a companion of.

The Haitian zombie phenomenon first attracted widespread international attention during the (1915–1934), when a number of of purported 'zombies' began to emerge. The first popular book covering the topics was 's The Magic Island (1929).

Seabrooke cited Article 246 of the Haitian which was passed in 1864, asserting that it was an official recognition of zombies. This passage was later used in promotional materials for the 1932 film. Also shall be qualified as attempted murder the employment which may be made by any person of substances which, without causing actual death, produce a lethargic coma more or less prolonged.

If, after the administering of such substances, the person has been buried, the act shall be considered murder no matter what result follows. In 1937, while researching in Haiti, encountered the case of a woman who appeared in a village. A family claimed she was Felicia Felix-Mentor, a relative who had died and been buried in 1907 at the age of 29. The woman was examined by a doctor; X-rays indicated that she did not have a leg fracture that Felix-Mentor was known to have had. Hurston pursued rumors that affected persons were given a powerful, but she was unable to locate individuals willing to offer much information.

She wrote, 'What is more, if science ever gets to the bottom of Vodou in Haiti and Africa, it will be found that some important medical secrets, still unknown to medical science, give it its power, rather than gestures of ceremony.' African and related legends A Central or West African origin for the Haitian zombie has been postulated based on two etymologies in the, nzambi ('god') and zumbi (').

This root helps form the names of several deities, including the Kongo creator deity and the Louisiana serpent deity (a local version of the Haitian ), but it is in fact a generic word for a divine spirit. The common African conception of beings under these names is more similar to the incorporeal 'zombie astral', as in the Kongo spirits. A related, but also often incorporeal, undead being is the of the, considered to be of the same etymology; in the also, local 'zombies' are recognized, but these are of a more general spirit nature. The idea of physical zombie-like creatures is present in some South African cultures, where they are called xidachane in / and maduxwane in. In some communities, it is believed that a dead person can be zombified by a small child. It is said that the spell can be broken by a powerful enough. It is also believed in some areas of South Africa that can zombify a person by killing and possessing the victim's body in order to force it into slave labor.

After rail lines were built to transport migrant workers, stories emerged about 'witch trains'. These trains appeared ordinary, but were staffed by zombified workers controlled by a witch. The trains would abduct a person boarding at night, and the person would then either be turned into a zombified worker, or beaten and thrown from the train a distance away from the original location.

Origins of zombie beliefs Chemical hypothesis Several decades after Hurston's work,, a Harvard, presented a pharmacological case for zombies in a 1983 paper in the, and later in two popular books, (1985) and Passage of Darkness: The Ethnobiology of the Haitian Zombie (1988). Davis traveled to Haiti in 1982 and, as a result of his investigations, claimed that a living person can be turned into a zombie by two special powders being introduced into the blood stream (usually via a wound). The first, coup de poudre (French: 'powder strike'), includes (TTX), a powerful and frequently fatal neurotoxin found in the flesh of the (order Tetraodontidae).

The second powder consists of such as. Together, these powders were said to induce a deathlike state in which the will of the victim would be entirely subjected to that of the bokor. Davis also popularized the story of, who was claimed to have succumbed to this practice.

The most ethically questioned and least scientifically explored ingredient of the powders, is part of a recently buried child's brain. [ ] The process described by Davis was an initial state of deathlike, followed by re-awakening — typically after being buried — into a psychotic state. The psychosis induced by the drug and was by Davis to reinforce culturally learned beliefs and to cause the individual to reconstruct their identity as that of a zombie, since they 'knew' they were dead, and had no other role to play in the Haitian society. Societal reinforcement of the belief was hypothesized by Davis to confirm for the zombie individual the zombie state, and such individuals were known to hang around in graveyards, exhibiting attitudes of low affect. Davis's claim has been criticized, particularly the suggestion that Haitian witch doctors can keep 'zombies' in a state of pharmacologically induced trance for many years. Symptoms of range from numbness and nausea to paralysis — particularly of the muscles of the diaphragm — unconsciousness, and death, but do not include a stiffened gait or a deathlike trance. According to psychologist, the scientific community dismisses tetrodotoxin as the cause of this state, and Davis' assessment of the nature of the reports of Haitian zombies is viewed as overly credulous.

Social hypothesis Scottish psychiatrist highlighted the link between social and cultural expectations and compulsion, in the context of and other mental illness, suggesting that schizogenesis may account for some of the psychological aspects of zombification. Particularly, this suggests cases where schizophrenia manifests a state of., professor of anthropology and psychiatry, published a study supporting a social explanation of the zombie phenomenon in the medical journal in 1997. The social explanation sees observed cases of people identified as zombies as a, with a practiced in Haiti that unites the with grieving families who see them as their 'returned' lost loved ones, as Littlewood summarizes his findings in an article in: I came to the conclusion that although it is unlikely that there is a single explanation for all cases where zombies are recognised by locals in Haiti, the mistaken identification of a wandering mentally ill stranger by bereaved relatives is the most likely explanation in many cases. People with a chronic schizophrenic illness, brain damage or learning disability are not uncommon in rural Haiti, and they would be particularly likely to be identified as zombies. Evolution of the zombie archetype Pulliam and Fonseca (2014) and Walz (2006) trace the zombie lineage back to ancient.

In the Descent of Ishtar, the goddess threatens: If you do not open the gate for me to come in, I shall smash the door and shatter the bolt, I shall smash the doorpost and overturn the doors, I shall raise up the dead and they shall eat the living: And the dead shall outnumber the living! She repeats this same threat in a slightly modified form in the. The actor as Frankenstein's Monster in an 1823 stage production of the novel by, while not a zombie novel in particular, prefigures many 20th-century ideas about zombies in that the resurrection of the dead is portrayed as a scientific process rather than a mystical one, and that the resurrected dead are degraded and more violent than their living selves. Frankenstein, published in 1818, has its roots in European folklore, whose tales of vengeful dead also informed the evolution of the modern conception of the. Later notable 19th-century stories about the avenging undead included 's ', and various tales. Though their works could not be properly considered zombie fiction, the supernatural tales of Bierce and Poe would prove influential on later writers such as, by Lovecraft's own admission.

In the 1920s and early 1930s, the American horror author H. Lovecraft wrote several that explored the undead theme. ', ', and ' all deal with the undead, but Lovecraft's (1921) 'helped define zombies in popular culture'.

This series of short stories featured, a who attempts to revive human corpses with mixed results. Notably, the resurrected dead are uncontrollable, mostly mute, primitive and extremely violent; though they are not referred to as zombies, their portrayal was prescient, anticipating the modern conception of zombies by several decades. Iced Karen Marie Moning Epub Español.

[ ] similarly depicted animated corpses in the of his, again without ever using the terms 'zombie' or 'undead'. Avenging zombies would feature prominently in the early 1950s, which would later claim as an influence. The comics, including, Vault of Horror and Weird Science, featured avenging undead in the Gothic tradition quite regularly, including adaptations of Lovecraft's stories, which included 'In the Vault', 'Cool Air' and Herbert West–Reanimator. 's 1954 novel, although classified as a vampire story would nonetheless have definitive impact on the zombie genre by way of.

The novel and its 1964 film adaptation,, which concern a lone human survivor waging war against a world of vampires, would by Romero's own admission greatly influence his 1968 low-budget film; a work that would prove to be more influential on the concept of zombies than any literary or cinematic work before it. See also: Films featuring zombies have been a part of cinema since the 1930s, with (directed by in 1932) being one of the earliest examples. With (1968), the zombie trope began to be increasingly linked to consumerism and consumer culture. Today, zombie films are released with such regularity (at least 55 titles were released in 2014 alone ) that they can be viewed as a separate subgenre of. Voodoo-related zombie themes have also appeared in espionage or adventure themed works outside the horror genre. For example, the original ' series (1964) and the novel and movie both feature Caribbean villains who falsely claim the voodoo power of zombification in order to keep others in fear of them.

Romero and the modern zombie film. A young zombie (Kyra Schon) feeding on human flesh, from Night of the Living Dead (1968) The modern conception of the zombie owes itself almost entirely to 's 1968 film.

In his films, Romero 'bred the zombie with the vampire, and what he got was the hybrid vigour of a ghoulish plague monster'. This entailed an apocalyptic vision of monsters that have come to be known as. Of the chided theater owners and parents who allowed children access to the film. 'I don't think the younger kids really knew what hit them,' complained Ebert. 'They were used to going to movies, sure, and they'd seen some horror movies before, sure, but this was something else.' According to Ebert, the film affected the audience immediately: 'The kids in the audience were stunned.

There was almost complete silence. The movie had stopped being delightfully scary about halfway through, and had become unexpectedly terrifying. There was a little girl across the aisle from me, maybe nine years old, who was sitting very still in her seat and crying.' Romero's reinvention of zombies is notable in terms of its thematics; he used zombies not just for their own sake, but as a vehicle 'to criticize real-world social ills—such as government ineptitude, bioengineering, slavery, greed and exploitation—while indulging our post-apocalyptic fantasies'. Night was the first of six films in Romero's.

Its first sequel,, was released in 1978. 's was released just months after Dawn of the Dead as an ersatz sequel ( Dawn of the Dead was released in several other countries as Zombi or Zombie).

1980s and 1990s The 1981 film referenced a mutagenic gas as a source of zombie contagion: an idea also used in 's 1985 film. Return of the Living Dead featured zombies that hungered specifically for brains. The mid-1980s produced few zombie films of note.

Perhaps the most notable entry, series, while highly influential are not technically zombie films but films about, despite the presence of the undead. 1985's, loosely based on the Lovecraft story, stood out in the genre, achieving nearly unanimous critical acclaim, and becoming a modest success, nearly outstripping Romero's for box office returns. After the mid-1980s, the subgenre was mostly relegated to the underground. Notable entries include director ultra-gory film (1992) (released as Dead Alive in the U.S.), comic 1993 film where a self-aware high school boy returns to profess his love for a girl and his love for human flesh, and Michele Soavi's (1994) (released as Cemetery Man in the U.S.). Several years later, zombies experienced a renaissance in low-budget Asian cinema, with a sudden spate of dissimilar entries including (1998), (1999), (1999), (2000) and (2001). 2000s and 2010s Japanese zombie films There are not many Japanese films related to what may be considered in the West as a zombie film. Early films such as features little gore and no cannibalism but is about the dead returning to life looking for love rather than a story of apocalyptic destruction.

The zombie themed video game (1996) was released to sales of 24 million copies worldwide. Most Japanese zombie films emerged in the wake of Resident Evil, such as,, all from 2000. The zombies film released after Resident Evil behave similarly to the Zombie films of the 1970s. Western zombie films The turn of the millennium coincided with a decade of box-office successes in which the zombie subgenre experienced a resurgence: the movies (2002, 2004, 2007, 2010, 2012, 2016), the British films and (2002, 2007), the (2004) and the comedies (2004) and (2008).

The new interest allowed Romero to create the fourth entry in his zombie series:, released in the summer of 2005. Romero returned to the series with the films (2008) and (2010). Generally, the zombies in these shows are the first made popular in Night of the Living Dead. Motion pictures created within the 2000s, however, like the, and, have featured zombies that are more agile, vicious, intelligent, and stronger than the traditional zombie. An alternate take on the zombie was 2013's film (and book), where the zombie has consciousness and some intelligence. In 2013, the series had the highest audience ratings in the United States for any show on broadcast or cable with an average of 5.6 million viewers in the 18- to 49-year-old demographic.

Zombie apocalypse. Main article: Intimately tied to the concept of the modern zombie is the 'zombie apocalypse'; the breakdown of society as a result of an initial zombie outbreak that spreads.

This has emerged as a prolific subgenre of and has been portrayed in many zombie-related media after Night of the Living Dead. In a zombie apocalypse, a widespread (usually global) rise of zombies hostile to human life engages in a general assault on civilization. Victims of zombies may become zombies themselves. This causes the outbreak to become an exponentially growing crisis: the spreading phenomenon swamps normal military and law enforcement organizations, leading to the panicked collapse of civilized society until only isolated pockets of survivors remain, scavenging for food and supplies in a world reduced to a pre-industrial hostile wilderness. Possible causes for zombie behavior in a modern population can be attributed to viruses, bacteria or other phenomena that reduce the mental capacity of humans causing them to behave in a very primitive and destructive fashion. Subtext The usual subtext of the zombie apocalypse is that civilization is inherently vulnerable to the unexpected, and that. The narrative of a zombie apocalypse carries strong connections to the turbulent social landscape of the United States in the 1960s, when Night of the Living Dead provided an indirect commentary on the dangers of conformity, a theme also explored in the novel (1954) and associated film (1956).

Many also feel that zombies allow people to deal with their own anxieties about the end of the world. One scholar concluded that 'more than any other monster, zombies are fully and literally apocalyptic.

They signal the end of the world as we have known it.' While zombie apocalypse scenarios are secular, they follow a religious pattern based on Christian ideas of an end-times war and messiah. Due to a large number of thematic films and video games, the idea of a zombie apocalypse has entered the mainstream, and many fans have begun making efforts to prepare for the hypothetical future zombie apocalypse. Such efforts include creating weapons and selling educational material informing people how to survive a zombie outbreak; while most of these are tongue-in-cheek and do not represent an authentic belief that a zombie apocalypse in the near future is likely, to demonstrate survival and emergency-preparedness techniques that may be useful in a 'real-world' setting. Story elements. Portrays a zombie in.

• Initial contacts with zombies are extremely dangerous and traumatic, causing shock, panic, disbelief and possibly denial, hampering survivors' ability to deal with hostile encounters. • The response of authorities to the threat is slower than its rate of growth, giving the zombie plague time to expand beyond containment.

This results in the collapse of the given society. Zombies take full control, while small groups of the living must fight for their survival.

The stories usually follow a single group of survivors, caught up in the sudden rush of the crisis. The narrative generally progresses from the onset of the zombie plague, then initial attempts to seek the aid of authorities, the failure of those authorities, through to the sudden catastrophic collapse of all large-scale organization and the characters' subsequent attempts to survive on their own. Such stories are often squarely focused on the way their characters react to such an extreme catastrophe, and how their personalities are changed by the stress, often acting on more primal motivations (fear, self-preservation) than they would display in normal life. Movie poster for the 1968 film Night of the Living Dead In anime and manga There has been a growth in the number of zombie in the last decade, and in a list of '10 Great Zombie Manga', 's Jason Thompson placed at number 1, considering it 'probably the greatest zombie manga ever'. In second place was Living Corpse and in third,, which he called 'the greatest science-fiction virus zombie manga ever'.

Was adapted into a film in 2014. In art Artist has made several works of video art involving zombies, and exhibited them in her 2006 show, 'Horror Make-Up,' which debuted on 8 September 2006 at Art Moving Projects, a gallery in Williamsburg, Brooklyn. Artist Karim Charredib has dedicated his work to the zombie figure. In 2007, he made a video installation at villa Savoye called 'Them!!!'

Where zombies walked in the villa like tourists. See also: and Zombies are a popular theme for video games, particularly of, but not limited to, the,, and genres. Important horror fiction media franchises in this area include,,,,,,, and the Zombies game modes from title series.

', a humorous game, was an hit in 2009, featuring in several best-of lists at the end of that year. The, a free grid-based browser game where zombies and survivors fight for control of a ruined city, is one of the most popular games of its type., a zombie-based for, was responsible for over 300,000 unit sales of its parent game within two months of its release.

Over a year later, the developers of the mod created a of the same game, which currently is in early-access on, and so far it has sold 3 million copies since its release in December 2013 Romero would later opine that he believes that much of the 21st century obsessions with Zombies can be traced more towards video games than films, Noting that it wasn't until the 2009 film that a Zombie film was able to grose more the 100 million. Outside of video games, zombies frequently appear in, such as or (which even has a Zombie-Type for its 'monsters'), as well as in role-playing games, such as, such as and, and tabletop wargames, such as and. The game is a zombie-themed played on college campuses. In government media. Main article: On 18 May 2011, the United States' (CDC) published a graphic novel, Preparedness 101: Zombie Apocalypse providing tips to survive a zombie invasion as a 'fun new way of teaching the importance of emergency preparedness'.

The CDC goes on to summarize cultural references to a zombie apocalypse. It uses these to underscore the value of laying in water, food, medical supplies, and other necessities in preparation for any and all potential disasters, be they hurricanes, earthquakes, tornadoes, floods, or hordes of zombies. On 17 October 2011, in the United States published an article, 'How To Weather the Zombie Apocalypse', that included a fictional interview with a Director of Research at the CDD, the 'Center for Disease Development'. Questions answered include 'How does the temperature affect zombies' abilities? Do they run faster in warmer temperatures?

Do they freeze if it gets too cold?' In 2011, the US government drafted, a real plan detailing a strategy to defend against a zombie attack. In merchandise Many companies from around the world have also put strong focus on creating products geared towards the 'zombie' culture.

This list includes a company in California, Harcos Labs, that sells bagged Zombie Blood and Zombie Jerky in specimen style pouches; In music 's music video (1983), in which he dances with a troop of zombies, has been preserved as a cultural treasure by the Library of Congress'. Many pop culture media have paid tribute to this video, such as a gathering of 14,000 university students dressed as zombies in Mexico City, and 1500 prisoners in orange jumpsuits recreating the zombie dance in. The hip hop trio incorporate many tropes from zombie fiction and play on the theme of a zombie apocalypse in their music.

They portray themselves as 'living dead', describing their use of such as and as having caused them to experience and rebirth. In print and literature.

See also: In the 1990s, zombie fiction emerged as a distinct literary subgenre, with the publication of (1990) and its follow-up Still Dead: Book of the Dead 2 (1992), both edited by horror authors and Craig Spector. Featuring Romero-inspired stories from the likes of, the Book of the Dead compilations are regarded as influential in the horror genre and perhaps the first true 'zombie literature'. Horror novelist has written about zombies including his short story ' (1990) and his novel (2006) concerning a struggling young artist on a trek from Boston to in hopes of saving his family from a possible worldwide outbreak of zombie-like maniacs. 's novel (2006) became a. Brooks had previously authored (2003), a zombie-themed parody of pop-fiction survival guides published in 2003. Brooks has said that zombies are so popular because 'Other monsters may threaten individual humans, but the living dead threaten the entire human race. Zombies are slate wipers.'

's mashup novel (2009) combines the full text of 's (1813) with a story about a zombie epidemic within the novel's period setting. In 2009, Katy Hershbereger of stated 'In the world of traditional horror, nothing is more popular right now than zombies. The living dead are here to stay.'

In social activism. Main articles: and The zombie also appears as a metaphor in protest songs, symbolizing mindless adherence to authority, particularly in law enforcement and the armed forces. Well-known examples include 's 1976 album, and ' 1994 single '. Organized have been staged, either as performance art or as part of protests that parody political extremism or apathy. A variation of the zombie walk is the zombie run. Here participants do a wearing a belt with several flag 'lives'.

If the chasing zombies capture all of the flags the runner becomes 'infected'. If he or she reaches the finish line—which may involve wide detours—ahead of the zombies the participant is a 'survivor'. In either case an appropriate participation medal is awarded. In theoretical academic papers Researchers have used theoretical zombie infections to test epidemiology modeling. One study found that all humans end up turned or dead. This is because the main epidemiological risk of zombies, besides the difficulties of neutralizing them, is that their population just keeps increasing; generations of humans merely 'surviving' still have a tendency to feed zombie populations, resulting in gross outnumbering.

The researchers explain that their methods of modelling may be applicable to the spread of political views or diseases with dormant infection. Adam Chodorow of the at investigated the and implications of a zombie apocalypse under and state tax codes. Neuroscientists Bradley Voytek and Timothy Verstynen have built a side career in extrapolating how ideas in neuroscience would theoretically apply to zombie brains. Their work has been featured in Forbes, New York Magazine, and other publications. As a in Researchers use the term “zombie centriole” to describe the that a (a sub cellular) that is degenerated (i.e.

Dead) start to function. See also Wikimedia Commons has media related to. • • (a combination of 'smartphone' and 'zombie') • a fungus that creates so-called 'zombie ants' or more generally, References.