The zombie in the grey flannel suit: Romero’s classic Dead trilogy and metaphors of mass subjectivity

This article explores the relationship between zombies and ‘mass subjectivity’ through examining the motifs, as well as the critical and scholarly reception, of Romero’s classic Dead movies and their successors. Contrasting the ‘fast zombies’ of later films, Romero’s zombies are withered and decayed versions of everyday people: tattered and frayed at the edges, their colours muted, their skin and clothing rendered in greyed-out tones. They are the mundane dead, animated. Romero’s filmic horror taps an uncanny rendering of the everyday. Gardens, streets and malls are made strange by the homogeneous mob progressing in endless lines, murmuring incoherencies and striving to just be. We can locate the visual character of the zombie within a genealogy of metaphors of mass subjectivity such as the man of the crowd, the badaud figure, constantly searching for a place, but symbolically disarticulated. By considering the sometimes comic, sometimes tragic and often horrific Romero zombie in a lineage of visual and literary figures linked to mass subjectivities – the man in the suit, the monstrous man, the man of the crowd, the badaud – this article answers the question: What does thinking about the relationship between the Romero zombie and mass subjectivity enable us to do, think or observe?