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They're coming to get you! The Muslim Zombies is Dave Franklin's tenth novel.
This book explores representations of race and ethnicity in contemporary cinema and the ways in which these depictions all too often promulgate an important racial ideology: the myth of colorblindness. Colorblindness is a discursive framework employed by mainstream, neoliberal media to celebrate a multicultural society while simultaneously disregarding its systemic and institutionalized racism. This collection is unique in its examination of such films as Ex Machina, The Lone Ranger, The Blind Side, Zootopia, The Fast and the Furious franchise, and Dope, which celebrate the myth of colorblindness, yet perpetuate and entrench the racism and racial inequities that persist in contemporary society. While the #OscarsSoWhite movement has been essential to bringing about structural changes to media industries and offers the opportunity for a wide diversity of voices to alter and transform the dominant, colorblind narratives continue to proliferate. As this book demonstrates, Hollywood still has a long way to go.
Powerful critique of UK and US surveillance and repression of Muslims and prosecution of homegrown terrorism The new front in the War on Terror is the “homegrown enemy,” domestic terrorists who have become the focus of sprawling counterterrorism structures of policing and surveillance in the United States and across Europe. Domestic surveillance has mushroomed—at least 100,000 Muslims in America have been secretly under scrutiny. British police compiled a secret suspect list of more than 8,000 al-Qaeda “sympathizers,” and in another operation included almost 300 children fifteen and under among the potential extremists investigated. MI5 doubled in size in just five years. Based on several years of research and reportage, in locations as disperate as Texas, New York and Yorkshire, and written in engrossing, precise prose, this is the first comprehensive critique of counterradicalization strategies. The new policy and policing campaigns have been backed by an industry of freshly minted experts and liberal commentators. The Muslims Are Coming! looks at the way these debates have been transformed by the embrace of a narrowly configured and ill-conceived anti-extremism.
In September 2019, a famous Muslim scholar in the West made the claim that Gog & Magog could refer to the zombie apocalypse. This resulted in an internet controversy with multiple Muslims even labeling the scholar a heretic for his new interpretation. But does Islam allow for re-interpretation in the issues related to the signs of the Last Day? Is the theory of Gog & Magog being a type of zombie plausible? In this short treatise, I analyze the principles and evidence behind this issue and clarify the correct Islamic perspective on the concept of Gog and Magog.
A searing portrait of Muslim life in the West, this “profound and intimate” memoir captures one man’s struggle to forge an American Muslim identity (Washington Post) Haroon Moghul was thrust into the spotlight after 9/11, becoming an undergraduate leader at New York University’s Islamic Center forced into appearances everywhere: on TV, before interfaith audiences, in print. Moghul was becoming a prominent voice for American Muslims even as he struggled with his relationship to Islam. In high school he was barely a believer and entirely convinced he was going to hell. He sometimes drank. He didn’t pray regularly. All he wanted was a girlfriend. But as he discovered, it wasn’t so easy to leave religion behind. To be true to himself, he needed to forge a unique American Muslim identity that reflected his beliefs and personality. How to Be a Muslim reveals a young man coping with the crushing pressure of a world that fears Muslims, struggling with his faith and searching for intellectual forebears, and suffering the onset of bipolar disorder. This is the story of the second-generation immigrant, of what it’s like to lose yourself between cultures and how to pick up the pieces.
Zombies first shuffled across movie screens in 1932 in the low-budget Hollywood film White Zombie and were reimagined as undead flesh-eaters in George A. Romero’s The Night of the Living Dead almost four decades later. Today, zombies are omnipresent in global popular culture, from video games and top-rated cable shows in the United States to comic books and other visual art forms to low-budget films from Cuba and the Philippines. The zombie’s ability to embody a variety of cultural anxieties—ecological disaster, social and economic collapse, political extremism—has ensured its continued relevance and legibility, and has precipitated an unprecedented deluge of international scholarship. Zombie studies manifested across academic disciplines in the humanities but also beyond, spreading into sociology, economics, computer science, mathematics, and even epidemiology. Zombie Theory collects the best interdisciplinary zombie scholarship from around the world. Essays portray the zombie not as a singular cultural figure or myth but show how the undead represent larger issues: the belief in an afterlife, fears of contagion and technology, the effect of capitalism and commodification, racial exclusion and oppression, dehumanization. As presented here, zombies are not simple metaphors; rather, they emerge as a critical mode for theoretical work. With its diverse disciplinary and methodological approaches, Zombie Theory thinks through what the walking undead reveal about our relationships to the world and to each other. Contributors: Fred Botting, Kingston U; Samuel Byrnand, U of Canberra; Gerry Canavan, Marquette U; Jeffrey Jerome Cohen, George Washington U; Jean Comaroff, Harvard U; John Comaroff, Harvard U; Edward P. Comentale, Indiana U; Anna Mae Duane, U of Connecticut; Karen Embry, Portland Community College; Barry Keith Grant, Brock U; Edward Green, Roosevelt U; Lars Bang Larsen; Travis Linnemann, Eastern Kentucky U; Elizabeth McAlister, Wesleyan U; Shaka McGlotten, Purchase College-SUNY; David McNally, York U; Tayla Nyong’o, Yale U; Simon Orpana, U of Alberta; Steven Shaviro, Wayne State U; Ola Sigurdson, U of Gothenburg; Jon Stratton, U of South Australia; Eugene Thacker, The New School; Sherryl Vint, U of California Riverside; Priscilla Wald, Duke U; Tyler Wall, Eastern Kentucky U; Jen Webb, U of Canberra; Jeffrey Andrew Weinstock, Central Michigan U.
The figure of the zombie is a familiar one in world culture, acting as a metaphor for "the other," a participant in narratives of life and death, good and evil, and of a fate worse than death--the state of being "undead." This book explores the phenomenon from its roots in Haitian folklore to its evolution on the silver screen and to its radical transformation during the 1960s countercultural revolution. Contributors from a broad range of disciplines here examine the zombie and its relationship to colonialism, orientalism, racism, globalism, capitalism and more--including potential signs that the zombie hordes may have finally achieved oversaturation. Instructors considering this book for use in a course may request an examination copy here.
A Choice 2015 Outstanding Academic Title Throughout history, Muslim men have been depicted as monsters. The portrayal of humans as monsters helps a society delineate who belongs and who, or what, is excluded. Even when symbolic, as in post-9/11 zombie films, Muslim monsters still function to define Muslims as non-human entities. These are not depictions of Muslim men as malevolent human characters, but rather as creatures that occupy the imagination -- non-humans that exhibit their wickedness outwardly on the skin. They populate medieval tales, Renaissance paintings, Shakespearean dramas, Gothic horror novels, and Hollywood films. Through an exhaustive survey of medieval, early modern, and contemporary literature, art, and cinema, Muslims in the Western Imagination examines the dehumanizing ways in which Muslim men have been constructed and represented as monsters, and the impact such representations have on perceptions of Muslims today. The study is the first to present a genealogy of these creatures, from the demons and giants of the Middle Ages to the hunchbacks with filed teeth that are featured in the 2007 film 300, arguing that constructions of Muslim monsters constitute a recurring theme, first formulated in medieval Christian thought. Sophia Rose Arjana shows how Muslim monsters are often related to Jewish monsters, and more broadly to Christian anti-Semitism and anxieties surrounding African and other foreign bodies, which involves both religious bigotry and fears surrounding bodily difference. Arjana argues persuasively that these dehumanizing constructions are deeply embedded in Western consciousness, existing today as internalized beliefs and practices that contribute to the culture of violence--both rhetorical and physical--against Muslims.
John “Ax Murderer” knows that he will never leave the prison in Leavenworth, Kansas since he is serving a life sentence for the killing on Black Friday at Wal-Mart. Now Operation Zombies Scare Me is in effect after a new president comes to power in the United States of America. Two Missouri National Guard members tell John “Ax Murderer” the whole truth about Operation Zombies Scare Me since they are going to inject him with the flu vaccine to kill him. A mix up leads to John “Ax Murderer” and his friend Jose “Axe” leaving the prison with the rest of the prisoners to fight zombies outside of the walls. John “Ax Murderer” leads the way while they traverse towards a friend´s home that will help them out. John “Ax Murderer” decides that it is a better idea to travel to Cuba than to go to México. Jose “Axe” refuses to go to Cuba and now John “Ax Murderer” is on his own. John “Ax Murderer” plans to travel from Overland Park, Kansas to Saint Louis, Missouri to get in a boat to travel down the Mississippi River towards Cuba. Along the way he will meet a group of survivors who are also trying to avoid the zombies. A corrupt police officer Brayson locks John “Ax Murderer” inside of the family home since he needs John “Ax Murderer” to rob an armored truck with money. After leaving Brayson´s side John “Ax Murderer” meets a mysterious woman Sharon with a secret. Now John “Ax Murderer” is protecting her from the men that a racist leader is sending to kill her. Sharon and John “Ax Murderer” search for a boat while attempting to avoid the men that are trying to kill Sharon. Before John “Ax Murderer” can find a boat he meets a charismatic leader named Keagan who promises to get him a boat if he helps him defeat a racist leader who is killing his people. (Word Count 67,959)
The Living Dead 2 has more of what zombie fans hunger for — more scares, more action, more... brains! Experience the indispensable series that defines the very best in zombie literature with original stories by Kelley Armstrong, Karina Sumner-Smith, Carrie Ryan, Jamie Lackey, Genevieve Valentine, Brian Keene, Simon R. Green, David Wellington, David Barr Kirtley, Matt London, Joe McKinney, Walter Greatshell, Bob Fingerman, S. G. Browne, Jonathan Maberry, Mira Grant, Marc Paoletti, cherie priest, Robert Kirkman, Max Brooks, David Moody, Sarah Langan, Steven Gould, and John Skipp & Cody Goodfellow. In addition to these original stories, The Living Dead 2 features 18 additional reprint zombie stories. All this adds up to a Landmark volume that helps define what zombie godfather John Skipp calls "The New Zombie Literature."