The Military and the Uncanny Within 28 Days Later by Nell Krebs

Schneider states in his article ‘Monsters as Uncanny Metaphors’ that ‘paradigmatic horror narratives work by reconfirming for audiences infantile beliefs that were abandoned long ago, such as the belief of the dead returning to life’ (169). With regard to 28 Days Later, one would assume the use of zombies plaguing London suffices for Schneider’s view, in that the very idea of the undead threatening normality is horrific. However by re-interpreting Schneider’s article it would be the representation of the military within the film that is more horrific or ‘uncanny’ than the infected humans.

Schneider states that the ‘uncanny’ are beliefs which we have repressed, with regard to the undead or vampires, but this can also be interpreted with the military within the film. The idea that a seemingly trustworthy form of authority can create a scenario more horrific and terrifying than the prospect of the infected demonstrates a belief of dependence on authority creating consequences for society. Although reincarnated monsters are mentioned, the military transforming into ‘monsters’ resonates within us as civilized people, triggering a distrust in which we must rely fully, creating an ‘uncanny’ feeling within us.

Schneider references Cohen within the article, “the monster… is an embodiment of a certain cultural movement – of a time, a feeling, and a place” (169). With regard to the military, there has been a shift in cultural expectations, in that society’s perspective of the force has been altered from one of protection and safety of the community, to an all-powerful, destructive force which has the potential to cause both significant and collateral damage to those within surrounding areas. This change is clearly demonstrated within 28 Days Later, outlining the timeline of trust to distrust society has of the military. This theory coincides with Schneider’s view as he outlines his argument, “these metaphorical embodiments are conceptual, not merely cinematographic, which is to say they exist in the mind, not just on the screen.” (169).

Within the majority zombie films there is a norm that scientists are to blame for all instances of infection or outbreak and the army or military forces are viewed as protectors of peace and harmony, restoring normality within society. However, in 28 Days Later this model is reversed, throwing the protagonists from the boiling water into the fire. Indeed the mise-en-scene of the military base changes significantly once the military changes from defenders to offenders. When the military are introduced and the protagonists are invited into the manor, the rooms are elegant and bright, with pleasant scenery. Once the intentions are addressed with regard to Selena and Hannah, the mise-en-scene immediately changes, the rooms become dark and cold, rain begins to pour outside with dramatic flashes of lightning. The use of machinery and artillery is also emphasized throughout, with the soldiers flagrantly displaying their weapons and using their guns heavily when the infected enter the scene. Indeed all the negative connotations associated with armed forces are emphasized within these final scenes, which is once more exaggerated with the cabin fever the soldiers are experiencing, particularly with the lack of female presence.

It is clear that once the motives of the military are established, 28 Days Later takes on another level of fear within the audience, as it creates a scenario that is all too plausible within our society, evoking this ‘uncanny’ feeling within us as human, civilised beings.

Works cited:

Stephen Schneider. “Monsters as (Uncanny) Metaphors: Freud, Lakoff, and the Representation of Monstrosity in Cinematic Horror.” Horror Film Reader. Alain Silver & James Ursini, Eds. New York: Limelight Editions, 2000. 167-192.