Blog Post #2: The Desire for Not Only Survival, But Companionship.

"28 Days Later..." As A Romance

Ryan Chau

Genre is defined as the categorization of film by similarities in composition, form, or style. “That the nonlinearity of this situation should create confusion is hardly surprising, especially since producers have tended to stress adjectives and cycle creation, whereas critics have paid attention instead to nouns and genre formations” (Altman, 68). It seems that genres were developed by critics to cast a broad net over many works, but as films become more realistic, it becomes harder to stay within a specific genre. Thus movies reflect reality in that it inescapably contains elements of life, such as mystery or romance. “28 Days Later” is a modern zombie horror film. It portrays a post-apocalyptic world that lacks a society to govern what few people have survived. This movie is not merely a horror movie, but also, a romance. Every single person that we come in contact with strives to survive, and yet that never seems to be enough. Further human contact must be established and society must be reformed.

In the first scene involving Jim, he is constantly screaming hello, calling for both companionship and aid. When he finally does run into Mark and Selena, he immediately desires to find his parents. Selena makes it clear that she intends only to survive, refusing to become romantically involved with Jim. Selena seems to be the strong voice of reason, while Jim desires companionship. But regardless, upon noticing the Christmas lights in the balcony, They immediately head towards the source, and are accepted in by Frank without hesitation. Selena debates  whether or not they should stay the night, worried that the increased size of the group would slow her down. The same events occur when the message over the radio is heard. The group immediately embarks on a long journey to meet more survivors, and are taken in without question. 

As the movie progresses, it seems that Jim and Selena meet each other half way in terms of development. Selena realizes that she loves the other survivors she has traveled and survived with, and Jim realizes that to maintain companionship and love, he must survive. There is a major contrast between being alone and scared or feral, and having at least one other companion and being more jovial. Selena becomes happier and less restless after spending time and enduring with Frank and Hanna, and sharing endearing moments with them, such as finding the unscathed supermarket and simply the pure adrenaline of having just barely survived. Jim slowly begins to realize that he has to be more careful and hardened in order to survive, as displayed by his killing of the zombie child and, towards the end, when he makes his final transition into a cunning survivalist to save the girl he loves.

It is impossible for movies like “28 Days Later” to stay within the boundaries of being solely a horror film. In order to maintain the element of realism it requires to become truly horrifying, it must include aspects of life. And so “28 Days Later” has, inevitably, become a romance as humans seek not only to survive, but to thrive with love and happiness. This is why throughout the film there seems to be this motif of “Hello.”  

Works Cited 

Altman, Rick. "Genrification as process." Film/Genre. London: British Film Institute, 1999. 62-68. Print.