Social Commentary on Consumerism within 28 Days Later

Through analysation of 28 Days Later it is evident that Boyle, the director of the film, took inspiration from Romero’s Dead sequels, as it offers social commentary on society’s grip on consumerism. Kawin states that the horror film genre is clearly identified when juxtaposed to science fiction (Kawin, 5). However, Boyle’s film, with the exception of the ‘infected’, illustrates a world all too similar to today’s society. Throughout the movie, the characters within the film continue to revert back to pre-apocalyptic society, subconsciously referring to products and money to the point of blatant product advertising.

Firstly the references to consumerism are ambiguous and subtle, for example when Jim picks up $100 purple notes on the steps as he first ventures into the empty London streets. But consistently product brands are displayed in clear view of the camera, such as Pepsi and Maltesers. This implies that regardless of the chaotic scenario the characters are in, society will turn to consumerism as a form of support, an idea Romero critiqued in Dawn of the Dead (Benson-Allott, 40). However, contrary to Romero’s view, 28 Days Later creates the assumption that society does not simply look to consumerism as a form of comfort, but a necessity to survival (Benson-Allott, 40). This is evident when Selena, a qualified nurse, states that Jim must consume sugar in order to survive, and the only form of nutrients available are the brands that are continually displayed throughout the film.

In addition, the most pleasant scene, to both the audience and the characters in the film, is when the group of survivors raids the grocery store, comparing brands and sorting through the vast amounts of products available. Once again the trope of consumerism is demonstrated when Frank places his credit card on the bench, a close up shot clearly identifying this piece of plastic that continues to control the behavior of the characters. Another distinctive feature compared to Benson-Allot’s argument is that the effect the products and brands have on the characters is reversed from Romero’s films, in that the characters are animated and consciously human rather than the zombified state in Dawn of the Dead, reiterating the consumerist survival instilled in 28 Days Later (Benson-Allott, 40).

As stated by Kawin “Genres are determined not by plot-elements so much as attitudes towards plot-elements.” (Kawin, 5). For this reason Boyle has made clear references to products not simply to induce a sense of realism within the film, but as a social critique to the film’s viewers in order to reevaluate our obsession and society’s obsession with consumerism.

Works cited:

Benson-Allott, C. (2013) Distributing the Dead: Killer Tapes and Shattered Screens: Video Spectatorship from VHS to File Sharing. University of California Press, California.

Kawin, B. (2004) The Mummy’s Pool: Planks of reason: essays on the horror film (Rev. ed). Scarecrow Press, Lanham, Md, 2004.