Zombies with an explicitly queer identity are by now firmly established, albeit not widespread, in zombie film, television, and video narratives. Queer undead teenager Kieran Walker of the UK television series In the Flesh provides one of the more well-known examples of this zombie variation. At the same time, some scholars have argued that all zombies may be regarded as subtextually queer based on their nonnormative reproduction, negation of futurity, and other characteristics. In order to survey the differing intersections of zombies and queerness, this chapter first discusses both identitarian and non-identitarian definitions of queerness and interpretations of the zombie as an inherently queer figure. It then examines characters with a queer sexual identity who become zombies, as occurs in films such as Contracted and Creatures from the Pink Lagoon and shorts such as Dating in the Zombie Apocalypse and Sauna the Dead. It concludes by discussing queer I-zombies, such as appear in the films The Nature of Nicholas, Otto, and L.A. Zombie and the shorts Gay Zombie and Zombie Marriage Counseling, and concludes with a discussion of the television series In the Flesh. The queer I-zombie’s high level of sentience enables more complex and nuanced critiques of both heteronormativity and homonormativity.

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In the Flesh and the Queer Film and TV Zombie

  • John R. Ziegler

摘要

Zombies with an explicitly queer identity are by now firmly established, albeit not widespread, in zombie film, television, and video narratives. Queer undead teenager Kieran Walker of the UK television series In the Flesh provides one of the more well-known examples of this zombie variation. At the same time, some scholars have argued that all zombies may be regarded as subtextually queer based on their nonnormative reproduction, negation of futurity, and other characteristics. In order to survey the differing intersections of zombies and queerness, this chapter first discusses both identitarian and non-identitarian definitions of queerness and interpretations of the zombie as an inherently queer figure. It then examines characters with a queer sexual identity who become zombies, as occurs in films such as Contracted and Creatures from the Pink Lagoon and shorts such as Dating in the Zombie Apocalypse and Sauna the Dead. It concludes by discussing queer I-zombies, such as appear in the films The Nature of Nicholas, Otto, and L.A. Zombie and the shorts Gay Zombie and Zombie Marriage Counseling, and concludes with a discussion of the television series In the Flesh. The queer I-zombie’s high level of sentience enables more complex and nuanced critiques of both heteronormativity and homonormativity.