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Extra info for Art, Literature and Culture from a Marxist Perspective

Example text

It is as if, in that moment, the film unconsciously references the inadequacy of its own conclusion; it detects within itself a certain futility. In truth, the proposed resolution – the individual act of robbing banks and redistributing wealth – provides an anachronistic and superficial remedy precisely because it does not address the point of production and the factories and workplaces which might transmute such isolated individuality into the possibility of a more comprehensive universality – that is, the universality of class.

This, of course, might seem like a minor detail to iron out, but McNally’s inaccuracy on the point does have its consequences. Because he argues that the early template – the productionist template – has been abnegated, he then assumes that the aesthetic possibilities of exposing ‘the hidden world of labour and the disparities of class’ are also lost. 7 Unfortunately, this rings a double confusion. The modern-day zombie archetype has absorbed the element of ‘production’ into its aesthetic remit – it was never lost.

In the fifth season, there are two especially significant events. In one episode (‘Slabtown’), the teenager Beth, having been separated from the group of Rick and Daryl some time earlier, awakes in a hospital building in the care of a surgeon who has repaired her injuries. At first, the viewer feels she has fallen on her feet, for the small group of people who have occupied the building seem organised and proficient, if a little stern and severe. But the fraught atmosphere quickly graduates into something more ominous.

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