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Dead Reckoning is a American film noir starring Humphrey Bogart and Lizabeth Scott and featuring Morris Carnovsky. The picture was directed by John.
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When the military attempts to round-up the townsfolk and transfer them to a central location for medical testing, the citizens fight back with extreme force, firing back as if they were VC guerillas uprooted from the jungles of Hanoi and suddenly set down in the cornfields of Anytown, USA. Romero is careful to never make clear whether or not the majority of the townspeople shooting at the military have actually even been infected by the madness-inducing bio-weapon, or if this particular register of insane gun violence is simply the American way of things.
Towards the end of the film, David, a Vietnam veteran, realizes that he is immune to the virus unleashed by the bio-weapon. Knowing that he could help the military find a cure, he instead keeps his immunity a secret, refusing to help the military clean up the mess they have made. The same year in which he directed The Crazies Romero also shot one of his most ill-fated and unjustly maligned films, Season of the Witch. Where The Crazies depicted Americans going mad in the streets, Season of the Witch focused on the hidden despair, shame, sexual repression, and social imprisonment that women experienced in the s.
Season of the Witch is a slippery admixture of horror and melodrama that centers on the character Joan, a suburban housewife on the cusp of middle age who finds herself stifled and emotionally penned in by the social expectations imposed on her by a deeply misogynistic culture. Joan is in a loveless marriage to her husband Jack, who is either always away on business or when he is home, either ignores or abuses her. These nightmares are vivid and terrifying, full of fragmented and highly suggestive images: her husband whipping her bloody with tree branches in a wood and then affixing her with a dog collar and imprisoning her in a kennel, a mirror that reflects back the image of a withered old crone, a masked man who breaks into her house and violently rapes her over and over.
Tired of her predictable and emotionally stunted life of suburban cocktail parties and card games, she turns to the occult in a bid to shake loose from her malaise, exploring the world of witchcraft in order to regain her lost sense of herself. The final scene of the film places Joan at yet another cocktail party where she tells anyone within earshot about her new identity as a witch, proud to now be able to define herself on her own terms.
Season of the Witch ends in failure and entrapment, as Joan ends up back where she started, within the prison of patriarchal dominance. Acomplex film, and certainly one of his best, Romero considered Martin to be his most personal artistic achievement, and one can easily see why. The film is a radical revision of the vampire tale that follows a young man named Martin who believes himself to be an 84 year old vampire.
He is a clumsy and bumbling predator, frequently apologizing to those he is about to kill.
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A far cry from the smooth aristocratic sexuality of gothic vampires, Martin is a pathetic and isolated kid, deranged and compulsive yes, but also wretched and pitiable, enslaved to impulses and social circumstances he cannot control. We never do find out whether Martin is really a vampire or if he is merely a mentally ill murderer, and Romero makes the question feel beside the point.
So much of Martin is about fantasy and delusion, the stories men tell themselves in order to structure their lives in a country that is disintegrating all around them. With its gritty realism, Martin doubles as something of a functional account of this disintegration, as it traces the decline of Braddock, Pennsylvania, the city in which it is set. A bleak ex-industrial landscape drained of life, the Braddock of Martin is locked in a long slow slide towards total social death—a decidedly unromantic setting for an intentionally unromantic take on vampires.
Martin is focused on deconstructing and deglamorizing the tangled web of fictions that men employ to self-actualize. Whenever he feeds it is almost always on women, and the one or two times in the film in which he drinks blood from men it is either depicted as an act of revenge or as something done out of pure necessity. Even though Martin outwardly rejects the trappings of the gothic vampire, railing against the idea that any real magic exists in the world, he still indulges in daydream fantasies or are they flashbacks? Martin is deranged, filtering his propensity for sexual violence towards women through a gothic horror framework, but the core of his psychopathy is one central to American masculinity, a ramshackle fiction in itself; a sickening nexus of delusion centered on dominance, violence, and control over women.
Martin sees Romero tracing the horror of a masculinity that makes villains and victims out of men.
As he deconstructs a set of delusions that are central to how American men see themselves, Romero is probing at the very boundary point between where violent fantasy ends and where the true horrors of American life begin. Land of the Dead. Twenty years after the release of Day of the Dead, Romero once again returned to the genre that he helped popularize with his most radical vision, a whirlwind assault of Marxist agitprop with a brazen incitement to class war.
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Set in a post-apocalyptic Pittsburgh starkly stratified along class lines, the living have retreated to gated communities where they barricade themselves behind electrified fences. During one incursion into zombie-held territory the humans notice that zombie behavior is beginning to change and that they are starting to act like humans again, carrying out empty pantomimes of their previous lives as if trying to remember who they are supposed to be. After a particularly brutal episode in which a human death squad rampages through a zombie town, gleefully butchering any undead they see—including one particularly gruesome kill in which a zombie cheerleader is skewered through the skull with the finial ornament of an American flag—the zombies spark to class consciousness.
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- "dead reckoning" translation into Romanian.
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Upending a deeply unequal status quo and reducing Kaufman to a lump of charred flesh, the zombies of Land of the Dead are unambiguously heroic figures, righteous bearers of a cleansing revolutionary violence. But then what will we turn into? In the black-and-white world of American political discourse, where candidates promise seemingly easy fixes to extraordinarily complex problems, Americans will have to set their highest sights on simply trying to slow down the acceleration of climate-warming gases in the atmosphere.
But it is also true that American political time has not been terribly in sync with what now appear, when compared to climate change, to be the more mundane problems of our energy regime, such as regulating the oil industry. The oil business, like all mineral-extraction industries, has a time horizon that tends to be much longer than the typical time horizon for American politicians, which increasingly resembles a perpetual campaign for the next election.
Indeed, the long time horizon that frames the industry is a serious force to be reckoned with when it comes to drafting climate-change policy. If we shut it down early, merely to save the planet, someone will have to eat that cost.
Deadly Reckoning
But few enterprises are as asynchronous with American political time as the science of climate change; indeed, time itself—whether we have much or little of it to stem the effects of climate change—stands at the center of the political debate. Scholars have just begun to explore the history of climate science, and much more work remains to be done on how the science of climate modeling entered into and was shaped by political processes within the United States and elsewhere. Here, too, historians need more road maps for exploring the place of science in American political processes.
The climate-change debates are valuable for our reflecting on this relationship because they throw in sharp relief the tensions between science and politics regarding other, less dramatic topics in recent American history many of them having to do with environmental issues. Who holds the power to define the nature and scope of the problem? Under what conditions can those relations of power change?
How and why do questions about the reliability of evidence or proof become contested?
Dead Reckoning by Sarmila Bose - review | Books | The Guardian
Which institutions within and outside the government have taken on the task of defining the problem? And how do the contests within formal political processes involve contests within scientific communities? These are just a handful of the questions that could begin the historical investigations of climate-change politics—surely, by any measure, the most important chapter in American history involving scientists in the political process. As we reflect on current time and as we continue to understand all the failures that went into the most recent American oil disaster—the Deepwater Horizon spill—scholars will naturally seek to look backward, to understand the roots of the failures at the institutional level in business and government , as well as with individuals.
This is extraordinarily important work. I have used the metaphor of dead reckoning in the title to this postscript, and I mean it as a very loose but cautionary reminder about how past historical questions may lead historians astray. It is a form of navigation that can prove very accurate—witness early modern European explorers who were highly skilled at dead reckoning. But if mistakes are made in dead reckoning with no course corrections, those errors accrue over time.
With no corrections along the way, however, our course is already far out in dangerous waters. Oxford University Press is a department of the University of Oxford. Consonant with the polarized world they inhabit Frye, p. The nightmare women, Miranda, Cassandra, and Gertrude, for example , seem to have their dream counterparts in Big Bertha, Josie, and Catalina Kate: Miranda who cuts the nipples off baby bottles is transformed into Big Bertha, a cook; Cassandra, cold but not virginal , associated with silver, is replaced by Josie, a smiling little nun with gold teeth; and promiscuous, insecure Gertrude is metamorphosed into the dusky-skinned Catalina Kate, happily shared by Skipper and his beloved friend Sonny.
Sonny's nightmare counterpart is Fernandez, Cassandra's Peruvian husband, whose abandonment of his wife and family finds its converse in Sonny's faithfulness and ultimate reunion with Skipper. Similarly, the destructive homosexuality of Fernandez finds its benign counterpart in Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves.
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