Mariani Argues That The Popularity Of The Zombie In Western

Mariani Argues That The Popularity Of The Zombie In Western

Mariani contends that the popularity of the zombie in Western culture exemplifies cultural appropriation, asserting that American pop culture has widely appropriated and "whitewashed" the origins of the zombie myth, transforming it into a form of escapist fantasy that disconnects it from its original cultural and historical context. This concern about cultural whitewashing raises significant questions about the ethical implications of borrowing from other cultures. When the original significance, societal meanings, or historical contexts are lost or distorted, it risks contextual erasure and fosters misunderstandings or stereotypes. Cultural appropriation involves the uncredited or superficial adoption of cultural elements, often leading to the commodification and dilution of those elements, which can be harmful and disrespectful to the originating culture. Conversely, cultural syncretism refers to the organic mixing of cultures through intercultural exchange, often characterized by mutual influence and adaptation that can enrich both cultures. The debate hinges on intent, power dynamics, and the respect given to the originating culture. While borrowing from other cultures can be a natural process of cultural exchange, irresponsible appropriation disregards the cultural significance and perpetuates stereotypes. Therefore, vigilance is required to ensure that cross-cultural adaptations preserve respect and understanding, rather than erasing original contexts. Mariani's concern about the "whitewashing" and commodification of zombies aligns with broader critiques of cultural appropriation, emphasizing the importance of acknowledging and preserving cultural origins to maintain authenticity and integrity in cultural representations.

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The portrayal of zombies in Western pop culture has evolved significantly over time, reflecting broader societal changes, values, and issues. Initially rooted in Haitian folklore, the zombie myth embodying the themes of slavery, cultural suppression, and consciousnesslessness has been appropriated into a predominantly Western lens, often detached from its original cultural and historical significance. Mariani argues that this process exemplifies cultural whitewashing, where the origins of the zombie myth are obscured or distorted for entertainment purposes. The concern here is that such decontextualization strips away the layered meanings of the myth, reducing it to a mere symbol of horror or escapism. This phenomenon raises crucial questions about the ethics of cultural borrowing. Appropriation becomes problematic when it involves using elements from marginalized cultures without proper acknowledgment or understanding, risking perpetuating stereotypes, misrepresentations, and disrespect for the original context. In contrast, cultural syncretism—the merging of cultural elements through shared influence—can lead to a more respectful and enriching intercultural dialogue. When cultural exchanges are rooted in mutual respect and understanding, they tend to foster appreciation rather than exploitation. The challenge lies in navigating these exchanges responsibly, acknowledging origins, and avoiding superficial or commercialized versions that distort meaning. Hollywood's depiction of zombies often exemplifies this issue, with many films focusing on spectacle and profit rather than cultural authenticity, thus contributing to the whitewashing that Mariani criticizes.

Regarding the debate between Mariani and Vlahos, each offers compelling insights into the function of zombie narratives. Vlahos emphasizes that modern zombie stories, such as those in "World War Z," tend to prioritize human responses to apocalypse scenarios, framing zombies more as catalysts for stories about human resilience and societal critique than as entities with inherent social significance. This perspective suggests that zombies have become symbols for examining political and social issues, especially in the context of American individualism and imperialism. Mariani, on the other hand, warns that such shifts dilute the original social critiques embedded in zombie stories, turning them into escapist fantasies that distract from pressing societal problems. I find myself aligning more with Mariani's view, recognizing that the reduction of zombies to mere plot devices for survival stories diminishes their potential as vehicles for social critique. When popular culture emphasizes heroism and survival over systemic critique, it risks complacency and a failure to confront underlying social injustices. However, a balanced perspective could acknowledge that zombie narratives can serve dual functions: entertaining audiences while subtly reinforcing or challenging societal norms. Incorporating social critique into zombie stories ensures their relevance and cultural significance, fostering awareness rather than complacency.

References

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