Prisoner of the Panopticon Panopticon may also correct in Foucault

Zombie movies is not only a superficial category B-horror films from primarily 70-80 century, but also for the discerning observer a comment on our Western society with its alienation and inequality, its tension and upheaval. Civilization collapse, zombie uprising, can be seen as a prophecy of the revolt against the unjust social 20 x 40 contract. I'll start by talking a little about the social contract. Foucault
Social contract theories from the 1600s onwards looks at various thinkers in different times a bit different, but above all it has the founder of liberalism, John Locke intends to make the coercion on which society rests more invisible. Social Contract's manifest (explicit) content is that citizens 20 x 40 should respect each other's lives, while the latent (below the surface, the actual) content is about the powerless must subordinate himself power will, for example, respect priviligierades property rights and consequent authority. The manifest content masks the latent. An alleged voluntariness must by contract form to get the child to participate in their own subordination process. In the power analysis, the philosopher and historian of ideas Michel Foucault laid out in his work Discipline and Punish affected certainly not contract the idea explicit, but there can be a key to understanding the liberal exercise of power available. What Foucault speaks of the prison that idea, and he becomes most interesting when he goes a step further and allows an imagined image of the prison regime throughout society. As an example, the Foucault Panopticon, 20 x 40 the architectural prison system in the 1700s was devised by Jeremy Bentham, cells in the circle shape open towards the middle placed tower from which twenty-four hour monitoring with full transparency was always possible without the incarcerated knowing what moment the was observed. This treatment would result in a docility and obedience which might lead one to think of the conditioned reflexes behavior lard as Pavlov much later evoked (Foucault actually call the procedure dressage). The very existence would be so filled with the awareness of their own actions, and its visibility to the obedience and desire 20 x 40 to please becomes reflexive habit. An example of such a successful internalization could be a pedestrian on a deserted country road stop for a red light even though no traffic in sight, this is the voice of society in mind. The power is no longer present, but it is not needed. Forces internalize their demands obedience of the citizen, or to try to go to psychology and paraphrase Freud: "The superego would really control over self."
Prisoner of the Panopticon Panopticon may also correct in Foucault's theory 20 x 40 as a model for the entire evolution of the exercise 20 x 40 of power (not just the fängsliga) 20 x 40 where rulers and oppressed switch places so that it was once the ruler who appeared and the little man who was anonymous, while it via parcel 20 x 40 will power that will be difficult to identify and man who clearly emerges, subject to scrutiny and tight control. Forces now aims to see without being seen. The point of it all is of course that power at once can increase both its actual control 20 x 40 and repression while paradoxically 20 x 40 seem more invisible and absent than before, to the limit that it can not be perceived at all. It affects citizen but that he becomes 20 x 40 aware of it, it internalizes his logic in his whole being. The performance of the contract voluntarily entered into, if the inequality as righteousness, requires that they hit full conviction, involvement and participation. In Noam Chomsky's terminology it is called Manufacturing Consent, or the creation of consent. In Gramsci, we recognize it as hegemony. When hegemony is talk of a single possible way, eg politics or the economy, and by the options have no representation in the language itself, and thinking they simply can not take hold in the imagination. We will zombiefierade. But that has nothing to lose ...
Not upper class directly (from Day of the Dead, 1985) As one of the first zombie movies that attracted real attention, Night Of The Living Dead was published in 1968 (movies had been done before, such as Zombies On Broadway in 1945, or the Incredible Strange Things Who Stopped Living 20 x 40 and Became Mixed-Up Zombies -62 for a few examples) undertook 20 x 40 the film company as a PR gimmick a life of 50 000 buck for the eventuality someone would have a stroke in the audience. It never needed to be paid, but the film was long considered to be the "ne plus ultra" in the gore genre. What interests me with zombie movies is not the splatter factor but mainly their philosophical and symbolic meaning. You may, if you will, in the desperate dirty, slow and hungry zombies are crawling forward in eg George A. Romero's Day of the Dead see the lumpenproletariat, or worn homeless, aliens, third world starving at the EU border, where the o