Epilogue
Epilogue
This epilogue reflects on George A. Romero's cinema, which reveals the tragic absurdity of a twentieth-century condition recognized in the novel of Joseph Conrad by Thomas Mann, who commented that “the striking feature of modern art is that…it sees life as tragicomedy with the result that the grotesque is its most genuine style,” one that is appropriate in recognizing the dreadful nature of modern experience since “the grotesque is the genuine antibourgeois style.” Romero's zombies represent grotesque metaphorical embodiments for ideas which have been running through his films ever since Night of the Living Dead. They transcend class, racial, and gender categories, including both children and senior citizens. His film, The Amusement Park—with its edge is its keen combination of fantasy and realism within an allegorical condemnation of selfish materialism—significantly illustrates the real concerns motivating Romero's role as a director throughout his entire career.
Keywords: zombie, George A. Romero, cinema, Thomas Mann, grotesque, The Amusement Park, fantasy, realism, materialism
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