a british horror film about a zombie biker gang

A BRITISH HORROR FILM ABOUT A ZOMBIE BIKER GANG PLUS

Ce sous-genre souffre souvent d’une mauvaise réputation car il demeure perçu comme conservateur, voire réactionnaire et raciste : il est accusé de participer à la phobie ambiante en perpétuant les clichés médiatiques à propos d’une supposée nouvelle underclass et, à ce titre, de brouiller la frontière entre réalité et fantasme. Les hoodies revendiquent donc leur image d’ennemi.

A BRITISH HORROR FILM ABOUT A ZOMBIE BIKER GANG PLUS

Ces groupes de prédateurs semblent de plus en plus fascinés par leur propre image maléfique qu’ils diffusent sur les réseaux sociaux. Le prisme du genre permet au cinéma de littéraliser certains éditoriaux des tabloïds en montrant des jeunes de banlieue comme des monstres amoraux et sanguinaires.

L’image d’un nouvel ennemi de la nation s’est donc forgée à la ville et à l’écran autour de la symbolique dégagée par ce vêtement qu’est le sweat à capuche ( hoodie). Les campagnes médiatiques contre les incivilités, l’obsession des gouvernements Blair et Cameron envers les comportements antisociaux ont sans doute ravivé le stéréotype d’une jeunesse révoltée et dangereuse, grand classique du cinéma en général et du cinéma britannique en particulier, qui a culminé avec les émeutes de l’été 2011. La fin des années 2000 et le début des années 2010 ont été marqués au Royaume-Uni par la vague d’un sous-genre du cinéma d’horreur, le hoodie horror. The worst enemy of the nation may be the excommunicators. the victims of hoodies (Middle England, “us”, spectators) and questioning their own values and attitudes, these films finally advocate sotto voce a discourse that is quite pessimistic but not as cynical and hostile towards these youths as expected. By putting the media and their effects into perspective, by looking at the other side i.e. Many of these films play with the conventions of a subgenre inspired by several American models in order to somehow subvert and question the enemy image given to hoodies as they implicitly point to the society that generates, to better demonise, these new evil hordes. However, this interpretation has to be mitigated. To a certain extent, this cycle of films does reinforce the horrific character of poor British youths, presenting them not only as culturally but also biologically different. As a by-product of neoliberalism, it is deemed to depoliticise or deny the wider social context in order to better essentialise evil through the construction of a new folk devil. Allegedly feeding on and fuelling moral panic, it may perpetuate clichés about a so-called new underclass, thereby further blurring the thin boundary between reality and fantasy for spectators.

Hoodie horror has sometimes been criticised because of its perceived conservative or even reactionary and/or racist overtones. Hoodies are thus othered, but they also ironically reclaim that enemy image. These gangs of predators appear to be fascinated by their own evil image that they proudly advertise through the use of social media. Because of the possibilities offered by genre films, the often claimed “feral” nature of these creatures is sometimes taken in a literal sense and young people from sink estates are presented as amoral and bloodthirsty monsters causing the general collapse of society. The enemy image of the hoodie thus gelled on and off screen around the powerful symbol of that garment. Government and media campaigns against antisocial behaviour or Broken Britain under Blair and Cameron’s premierships undoubtedly helped revive the stereotype of a rebellious and dangerous youth, also a great cinematic trope, which culminated with the summer riots of 2011. The late 2000s and early 2010s saw the rise of a new subgenre in British horror cinema now often referred to as hoodie horror.

A british horror film about a zombie biker gang