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This moment of choosing her own strength instead of the strength being offered by Ben is further magnified when she sets to deal silently with the cleanup of the zombie while Ben is shown to be washing his hands and verbally brainstorming ideas. This move away from femininity toward androgyny means that the viewer no longer has to regard her actions within the construct of the feminine. Linda Williams extends this claim by arguing that the male gaze too victimizes female characters within the text.
Unlike the other female inhabitants of the house, Barbra does not shy away from looking at the zombies.
Her first moment of unabashed looking occurs when she examines the zombie she first kills in the house before rolling him in the carpet. Just as the dead zombie is powerless, Barbra too has not accessed yet her full independence from her learned gender role.
The living dead
She is able to look in that instance because the monster is no longer a threat. Yet, in a telling scene occurring after she has shed her feminine appearance, Barbra stands on the porch and gazes at the zombies in concert with Ben as they debate the best plan for survival.
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There is no display of sexuality in this scene, indeed it is shot in close-up de-emphasizing their bodies, and it plays as a moment of exchange between equals. These moments are significant because they suggest power derived from the masculine must be present in order to see the monster. Yet, the ability to gaze and the ability to see are quickly defined for the audience as being two different beasts.
Living Dead Dolls Eerie Series 4 by Mezco Toyz Ms drywearentripec.gq
Unlike Ben who can only gaze, Barbra can also see the zombies for their reality. It is this sight that allows her to realize their vulnerability. Her argument to Ben that they could get away from the slow moving zombies is sound because she is able to negotiate past fear to assess the situation accurately.
But really, you. It must have been something to be in theaters when Night of the Living Dead first premiered. Even today, the sheer horror in every frame and sequence goes above and beyond what American audiences are traditionally given.
The zombie connection
Because, while movies have certainly become more grotesque, capitalizing on the Tom Savinis, the Stan Winstons, the million-dollar hard drives that conjure up mediocre gore, very few are ever this visceral, unforgiving, or subtle. There is nothing more terrifying than that. Romero delivered a nightmare that hasn't ended by Michael Roffman. Share this: Facebook Twitter Reddit. Tags Duane Jones George A.