Shaun of the Dead is a postmodern film which deconstructs the Dawn of the Dead horror, by rejecting the generic codes and conventions of horror paradigms such as character, setting and props. Shaun of the Dead subverts structuralist notions of horror through the use of humour to convey meaning, rather than conforming to the conventions of it but, without straying too much from Foucault and Lacan’s structuralist theory: that structure exists in all texts.
The very first scene of Shaun of the Dead is shot in a pub, one of the busiest, crowded ‘safe and secure’ settings so, already the film challenges notions of horror and setting paradigms of secluded houses or a forest in a remote location. The fact that the scene is shot in a pub allows the audience to relate to the film as a pub is part of our everyday lives; even if we don’t go inside, we walk past one, suggesting that this setting could be anywhere and in a sense supports Louis Althusser’s theory of interpolation because it allows a more of the audience to identify with the characters. The majority of the film is set in the daytime which is a postmodern subversion of the paradigms of a dark, night time setting.
The suburban setting of the film is another post-modern interpretation which aims to deconstruct the audience’s preconceived expectations about setting in the horror genre. It is also a very ordinary setting, implying that nothing extraordinary, like a zombie attack, is likely to happen. The time of day changes as the plot develops and so the scare factor rises as night falls, due to the fear of the unknown in the dark. The film is made more comical by subverting the typical settings and supporting the loss of the rule of combination; the fact it does this knowingly informs the audience that this is a post-modern film and not a spoof.
Shaun of the Dead also subverts the typical notions of characters in horror films. Though the characters don’t fit Propp’s eight character types exactly, they are average people and so most of the audience can identify with them, following Louis Althusser’s theory of interpolation. The main protagonist Shaun does not fit the description of a typical hero but is almost the opposite, in that he is unfit and not greatly attractive. Though he is the more rational character and takes the lead when being attacked by zombies, he doesn’t do it in a conventional way and one of the other female characters takes the role later in the film when they pretend to be zombies.
Shaun’s right-hand man Ed is presented as the ‘clown’ of the group due to his insurgent responses to situations as well as his laziness, childish attitude and vulgar language. This is a common character paradigm and suggests that he likely to be bitten by a zombie. However, the paradigm is subverted when zombie Ed and Shaun are playing PlayStation in Shaun’s shed, at the end, as if he is Shaun’s pet.
The female protagonist, Liz, also rejects the typical blonde, promiscuous character paradigm and is portrayed as a logically thinking, confident and intelligent woman. She also takes on a defensive role when she saves Shaun from being attacked in the garden scene, while Ed and David stay back; this subverts the idea of Carol Clover’s final girl theory in which the female protagonist is portrayed to be weak and vulnerable against the villain such as, Betsy Palmer in Friday the Thirteenth or Jamie Lee Curtis in Halloween. The way the audience see the women in Shaun of the Dead is different to how Mulvey says the audience did in the 50’s and 60’s because in this film they are average looking, attractive, working class women who protect not only themselves but those around them and are capable of standing up for themselves. This is in comparison to Mulvey’s idea that women had ‘to-be-looked-at-ness’ which drew in the male gaze.
Additionally, the zombies reject their stereotypical expectations as they are a parody of the zombies which are presented as the living dead in conventional horror films, as their fictional groans, walking in a slow jerky manner, white eyes and pale skin contribute to the humour throughout the film. The idea that everyone is a zombie before the actual attack is presented in the title sequence, where we see a man mindlessly pushing trolleys, an expressionless nurse and a group of young people walking in unison to the beat of the non diegetic music. Another example is when Shaun is on the bus and the people around him have their heads bowed or to one side and blank looks on their faces. The film deconstructs modern society and comments on how people seem to behave the same to fit in with society. The humour is further created when Shaun leaves his apartment and we first see the zombies but, Shaun is completely oblivious to them, thinking they are the normal people he sees every day. Again, this is a comment on modern society and the tedious routine style life these people lead.
Props are a very important part of horror, for example, masks to keep the villain anonymous and evoke the scare factor further. The most used paradigm being a knife or sharp object as it is personal between a victim and the villain and, often has sexual implications as the killer is almost always a male in most horror films. Shaun’s weapon is a cricket bat which subverts structuralist notions of horror as it is one of the last things you would use for protection in a zombie invasion. Cricket bats are often associated with middle class men for a more sophisticated sport so the fact that Shaun uses it aggressively subverts the prop paradigm.
Also, Ed uses a shovel as his weapon of choice, again rejecting the paradigm. A shovel is used for digging in gardens, which is something people do as a hobby, or for digging graves, so the shovel could be a post-modern rejection of structuralist ideas of props or, could connote that he is going to kill the zombies and ultimately send them to their graves. Shaun is holding a knife in the scene at his mother’s house in which the knife is glinting and eye catching but, Shaun still opts for the cricket bat emphasising the loss of the rule of combination; common in post-modern films. In another scene, Shaun specifically says to ‘get any blunt objects,’ which completely goes against the prop paradigm of sharp objects as weapons.
Additionally, a scene where the group are in a garden shows them using children’s toys as weapons, which defeats the purpose of weapons, as toys are made to be safe for children. The almost oxymoronic use of toys as weapons emphasises the rejection of codes and conventions of typical horror films. Furthermore, the scenes in the pub show Shaun and Ed using snooker cues and a rifle gun to shoot the zombies; this is a subversion as these guns are used in action or Western films rather than horror. It is also a comical device as the mise-en-scene of Shaun’s costume (the red tie around his head and the rifle gun) resembles that of Rambo, which is an action film. The controversial use of these ‘weapons’ emphasises the post-modernist interpretation of the film.
Postmodernism is shown through the editing in the film because it changes the meaning conveyed by using such editing. For example, the quick cuts and zooms would usually be used when there is adrenaline pumping action happening to build tension for the audience; Shaun of the Dead uses the quick zooms when Shaun is getting ready for work. This montage editing is also used when he is telling Ed the plan and the audience are shown quick cuts of it, this is used more in action films. Another example of how editing is used to subvert notions of horror, is when Shaun is looking in the bathroom mirror and we see Pete’s reflection. In most horror films, there would be a scary face or person but because this is a post-modern film, the idea is subverted for a comical effect.
The juxtaposition of the first attack in their garden and the next scene of Shaun and Ed with a cup of tea and Cornetto accentuates that this is a post-modern construction as it deliberately challenges the structuralist notions of horror by placing a tense action scene next to a calm, equilibrium-like scene again, for a humorous effect.
A point of view shot, from behind Liz, David and Dianne allows the audience to feel as though they are in the scene; this is often used in horror films to allow the audience to feel the tension of the victim. However, in this case tension is building because we don’t know if Shaun is climbing up the window or a zombie. The concept of postmodernism is highlighted when we see Shaun at the window with his cricket bat, rather than something frightening.
In the pub, panning shots fade from one shot to the next creating a sense of serenity but also suspense and an eerie atmosphere. This is very rare in horror films because by this point in a typical horror film, the action would be at its peak and so the shots would be quick, short cuts.
In the same scene, diegetic sound of Queen’s Don’t Stop Me Now is playing while Shaun, Ed and Liz are attacking a zombie to the beat of the music; this adds humour and juxtaposes largely with the typical eerie, high pitched non diegetic sounds you would often hear in horror films. The theme song is not conventional either, as it is quite upbeat and the sound effects it uses give it a mocking tone. However, in some scenes, there is non diegetic sound in the background, such as when Shaun is walking back home from the shop, adding to the suspense which is conventional of horror films. Non diegetic sound is also used in the garden scene, creating a sense of anticipation and raising questions as to what idea Shaun and Dianne have just had, thus enticing the audience further, to watch the film.
Shaun of the Dead conforms to many genre theories, such as Todorov’s theory of narrative as it follows the idea of equilibrium, followed by disequilibrium and then returns to equilibrium, but rejects most structuralist notions and paradigms through its use of humour and controversial ideas of props, characters and settings. It also subverts notions of the gore paradigm, in that though there is gore in the film it is not as realistic as that of typical horror films and has a humorous edge to it. The film follows aspects of paradigms but overturns them to reinforce its post-modern approach and inform the audience it is neither a characteristic horror film nor a spoof.
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