ISSUE 12 April 2015
An independent magazine aimed at bringing the works of the young and talented to the whole world. Believing in ideas, thoughts and concepts, Garde Magazine follows the principle of simplicity and honesty.
Founders Cleo Tse
Copy Editor Marie-JosĂŠe Kelly
Creators Hanna-Katrina JÄ™drosz Sylvia Moritz
Kylie Chan Yves Francois
Contributors David Madsen
Special thanks Dress In Print
It’s been a year. A YEAR.
We can’t really describe how we feel when we realise Garde Magazine has made it through 12 months. We suppose it’s a mixture between: astonishment, jitter, pride and bewilderment. But it’s the feeling of euphoria that really outweighs all the rest. YAY! The past 12 issues have been filled with nothing but original creativity. We’ve learned so much about different types of art, about the artists behind these fantastic works
and the stories that brought them to where they are now. Thank you so much to everyone who has supported us – whether you’re a contributor, creator, reader…it doesn’t matter. You’re all the reason why we’ve made our 12th issue! To celebrate our anniversary, we’ve got a rather cool (if we may say so ourselves) surprise for our readers in our next issue. Keep your eyes peeled for that. There’s only more excitement and jubilations to come. This issue is also thrilling of course (as usual). To give you a hint of the juicy contents: we’ve got a “blue guy”
who does animation and takes inspiration from knowledge-filled elements or when he gets up in the morning and is in a dreamlike state. Dress In Print is back with exciting prints to make sports clothes comfortable, of a high quality and appealing to the eye all thanks to its new collaboration. Weâ€™ve got a graphic designer who embraces all flaws and mistakes and is in love with cityscapes, a photographer who delicately captures the stories behind photos and an illustrator who draws her feelings and moods, reflecting her personal-
ity in her works. Our favourite movieholic has also enlightened this issue with a review of a film under the category of gore â€“ be warned, the content can be quite disturbing and you definitely need to be aged 18 for this!
We hope youâ€™re excited. WE ARE.
Happy reading! Cleo & Natasha
CONTENT Sylvia Moritz // Graphic Design Embrace our flawed environment
Yves Francois // Animation Let imagination and memory fly with discipline
Hanna Katrina JÄ™drosz // Photography The stories behind photos
Kylie Chan // Illustration A means of expressing the inner self
What is it... Printmaking 101 Silk Screen Printing
Creative Happening Dress in Print When fairytales meet prints
Movie Review Zombi2 (1979)
Embrace our flawed environment Sylvia Moritz Graphic Design
She is an ultra-detailed person whom you would be amazed at. Her ambition expands from computer to hands and cityscapes. She is Sylvia Moritz, a graphic design graduate, but also a printmaker who captures London, the nature and even the whole world.
Sylvia has a very strong signature in
coloured in black and white and cityscapes. Here is her reason: “Architecher works:
my practice. It takes me time to realise who I am and what my strengths are. I have
now accumulated years of work and I notice that I am influenced as an artist by the place and environment I reside in,” said Sylvia.
Her creative journey started in Austria at a young age. As a creator who had studied in three different countries, she ture was a subject I always considered study- took the best part of each country and each ing instead of graphic design. Every building, country has had a great impact on her path whether it cost £100million or is made of of creativity. mud, has a structure, a design, and is beautiful in it’s own right. They’re integral to the “In Austria I learnt the basics of shaping of my designs and illustrations.” design: life and perspective drawing, art history, colour systems and various designs; Diversity, Necessity and Capacity are England allowed me to play, experiment with works all discussing different social themes new techniques and also handmade techthat the earth is dealing with, such as overde- niques; America was extremely encouraging, velopment, urban-expansionism and polluvery ambitious. It made me believe I could tion. The circular shape of works mirrors the become anything I wanted. I was surrounded shape of the planet. by highly motivated people and we all shared the American Dream. Everything felt possible.” “
My surroundings take a vital part of
In the generation
Sylvia Moritz - Capacity The world‘s largest cities today have an average population density of over 25,000 people per Km2, that’s two people for every square meter. Our ability to cater for this constant swell of rural-urban migration has now to reach its capacity, and human beings have built a maze around themselves that they can no longer escape. With trees forever making way for skyscrapers, the planet’s environmental degradation means that pollution levels have reached similarly dizzying heights to that of the towers we live in.
of technology and digitalisation, Sylvia has an open attitude towards the difference between computer-generated graphics and handmade graphics. Being in-
spired by a Mac computer in her teenage years, she foresees the usefulness of computers. “There will always be a place for computer-generated graphics. Etching and screen-printing are wonderful techniques - their methodology hasn’t changed for years and doesn’t need to while computers are evolving. They are at the forefront of what is
new and will determine faster, better ways for us to create art and design in the future.” Even so, she still has her preference.
“Printmaking is more instinctive, the mistakes you make are irreversible and become part of the art. With graphics, too many cooks can spoil the broth, there’s a lot of nudging around and endless perfectionisms be
Sylvia Moritz - Diversity (Close up) ‘Divercity’ depicts points of interest from all 196 countries on Earth. It’s an architectural assortment of the culturally contrasting. From low-rise to high-rise, museums to minarets, past desert sands and timeless lands, through acre woods and city blocks. Orbiting the border of ‘Divercity’ are the world famous landmarks we all know and love, but as the eye gravi- tates towards the center, lesser-known, recherché attractions unveil themselves to us. The piece promises that in the story of man-made architecture, our tourist guides are only chapter one, and that there is fulfilment to be had in having your head turned by something outstanding that you didn’t expect to see.
Sylvia Moritz - Necessity Before elevators, climbing trees or hiking mountains were the only ways to see the world at large. Before conveyor belts and tarmac highways we felt grass beneath our feet. We progress with technologies provi- sions, but despite our wires and our networks we’ve lost contact with the bare necessities of life.
ing applied that dissolve the fun of making.”
With her delicate drawing techniques, it is inevitable to make ‘mistakes’ since one can never guarantee all strokes made on the paper are correct. Sylvia transcends her possible mistakes into a higher level of creativity. “I never saw them [mistakes] as a problem. Mistakes make us as people, and it’s always part of the art. It’s like if an actor forgets his lines at the theatre - only he knows his mistake, and everyone else goes
My art is generally very detailed and very imaginative, so misalong with it.
takes just become the start of a new element that I simply hadn’t foreseen. It’s innovation.” Sylvia’s next project is launching her own brand of urban-themed stationery, gifts and accessories called The City Works. Continuing her rich, intricately detailed illustrations, the first collection of the brand ‘Lost in London’ aims to capture the maze-like nature of the old city. Expectedly, her dream project is related to the city too.
I always dreamed of seeing my cityscapes covering a large wall in the form of a mural design, and as we speak I’m cur “
rently working on two separate mural designs for the University of Arts London and their student housing buildings. So perhaps this is a dream that’s going to come true soon!”
Where previous works in the Citysphere series depicted the urban sprawl, ‘Necessity’ turns its attention to the rural sprawl, and performs the wonderful resilience of the natural world. It reminds us that to ensure a fruitful life for all, seeds must be planted, and our biodiverse ecosystems preserved. The unquestionable beauty of nature is a necessary yin to our vast industrial yang – and we mustn’t forget what this planet was before we called it earth.
Let imagination and memory fly with discipline
Yves Francois Animation
For Yves Francois, animation is the hub of his childhood and memory. Although he started with illustration and learnt animation quite late in his education, his determination and passion led him to go far in pursuing his interest. “I’ve spent my second year doing a short animated film at the Royal College of Art. It was difficult sometimes given my lack of knowledge
Even though the project had some beginner mistakes, I was happy with the result,” said Yves. in animation.
It is really easy to find out there are two elements appearing frequently in Yves’ work: surroundings and the colour blue. He explained
that he is borrow
child’s angle to view things because it is fresh and honest, without too many stereotypes. “When I first applied to the Royal College of Art I was asked for an identity picture. I was late with the paperwork so I just sent a low-resolution portrait from a web camera the night before which looked blue. Afterwards this image was on my student card and all the trombinoscope taped on doors. Some students made fun of it and called me “blue guy.” I found it funny and thought of making a blue character. Since then I’ve used this colour in many projects, maybe its part of my atmosphere now and I actually don’t really notice it!” Taking a deeper look at Yves’ works, they look hand-drawn
and like he dedicated a lot of time to each piece. Although animation is inevitably correlated to computer graphics and its process since the tool to link all pieces together are essential, Yves has another thought about it. “I
didn’t like too much computer-generated images at the beginning because I think computer graphics would not be strong enough to show personality. Then for my animation I started with computer to save time. The result looked all right. So now I would say that I prefer traditional techniques when doing my research but I like to add computer generated elements for a more finalised project.”
Yves starts with the meaning and ideas behind a project, and then continues with the form. He likes to find his work containing reality and fantasy elements along the evolution of the project. “Style is not something you need to work on first, it just comes little by little when you keep working.”
Yves Francois - Neighbouring Thoughts The film deals with a musicians trying to find back his inspiration. Then the storyline follows him into his mind, linking his ideas memories and dreams all together.
About a musician trying to find back his inspiration, linking his ideas, memories and dreams together, Neighbouring Thoughts is Yves’ final project. He said it was his “most completed project.” One probably could not imagine how long
the seven minute long animated project took. It actually took Yves 6 months to find a storyline, do research, make a storyboard and production, which includes animation, sound design and editing. Some scenes were even shortNeighbouring Thoughts,
ened due to deadline.
Animation is a time consuming and repetitive medium which demands a lot of effort in terms of organisa“
tion. One must fix their own deadlines for
each scene in order to make it. It also makes one feel lonely because one would be fully occupied with it. If I could make it more detailed and in-depth, I could easily spend another 5 months on it,” said Yves.
“I like this short moment in the morning where you’re waking up but still out of a dream. It’s a bit confusing and you’re making strange associations of ideas. I often have inspirational moments in this way. Reading is another source of inspiration since I see what has been done before me. All elements of good generAs for his inspiration, Yves said,
Yves Francois - Someone
al them. knowledge are what alI like both for different low you to have any ideas reasons.” Looking forward to the future, Yves has different in the first place.” plans such as a comic book and even a full-length Making use of his illustration experience in animation production, Yves said the way of presentation is very different: while illustration has to be direct and straight-forward, animation allows one to develop an idea although the process is repetitive.
“I wish I could do the movie one but with a big team “Right now I might say I pre- behind me, so I could be the director and focus on fer animation more because it’s a newer medium for me, the part which interests me but I know I will come back and leave the boring part to to illustration soon, so I can’t others!” choose between
The stories behind photos Hanna-Katrina Jedrosz Photography
Bleak yet colourful. Near but detached. Simultenously stark and vague. Hanna-Katrina Jędrosz’s photography is full of odd contradictions, which might be why they tease your curiousity so. Satisfyingly, the stories behind the pictures turn out to be just as interesting as the works themselves. Hanna-Katrina’s background is in European Theatre, but photography nat-
It may seem like the two are worlds apart, but theatre and documentary photography are often hoping to achieve the same thing to communicate a story. To me, clear similarities are that both practices comment, reflect, respond to and provoke the world around them.” urally found its way into her life. “
Hanna-Katrina’s project ‘I Feel Every Stone of the Road’ became the catalyst for going into photography.
I have always had an interest in photography before deciding to make it a significant part of my work. Whilst at drama school we did a lot of devised plays, I found that I always tended towards visual ideas. My note “
Hanna-Katrina Jędrosz - I Feel Every Stone Of The Road An installation piece inspired by the diary my Polish grandmother wrote after the Warsaw Uprising of 1944 when she was held as a prisoner of war by the Nazis. She was twenty at the time and wrote the diary whilst taken from camp to camp across Poland and Germany, before being liberated in the Spring of 1945. My installation presented photographs taken on the sites of the prisoner of war camps projected into the middle of a black box space, and accompanied by an audio track of me speaking the words of her diary (in English) combined with writing I had done when I retraced her route. The line that became the title for the project: “Through thin and torn soles of my shoes I feel every stone of the road.”
would be full of image cuttings and photographs, the text would come later. When I discovered a diary that my Polish grandmother had kept whilst held as a prisoner of war at the age of twenty after the Warsaw Uprising, an idea kind of unfolded out in front of me.” At this time, Hanna-Katrina was looking for a Masters degree. Having seen several memorable graduation shows at the Photojournalism and Documentary Photography course at the London College of Communication, she decided to take photography to the forefront of her work. She would use the course assignments as a part of the photographic investigations her grandmother’s diary had sparked. “I found the diary in a box in the attic at my father’s house in West Yorkshire, nearly a decade after my grandmother died. It was written in Polish (which sadly I do
not speak nor read), but it felt like an opportunity had been
It was in 2011, around the same time as the London Riots and what came to be known as the Arab Spring, and the ideas of revolution and placed in my hands.
Hanna-Katrina Jędrosz - I Feel Every Stone Of The Road
uprising that were apparent in her writing (and in the stories she had told me as a child about the Warsaw Uprising) felt very timely and relevant.”
The work was exhibited in POSK Gallery, a Polish cultural hub in London, and Hanna-Katrina feels the biggest achievement of the work is the response she recieved from many visitors. “Sometimes this would be because they too had a grandparent or parent who had fought in the same war, sometimes in Warsaw, or they would have no literal connection to the project but had recognised something in it that they identified with and felt it was important to tell me. These were people of all ages from many different
The stories in the diary lead to a photographic journey spanning three years. Travels to backgrounds. and photographs of the places mentioned in the diary, sometimes completely transformed and sometimes eerily recognisable, were ultimately compiled into an installation where the photographs were shown along with excerpts from the diary, as well as Hanna-Katrina’s own travel notes from the project, read aloud by Hanna-Katrina herself.
My grandmother was someone who was very generous with and interested in people, so it seemed appropriate that her story should
instigate people returning to me with their own stories.” To Hanna-Katrina, this project hasn’t really ended. If possible, she would like to present the work as a book, where parts of the original diary can be shown alongside the photographs and with the audio track accompanying on a CD. For her upcoming project, Hanna-Katrina hopes to provoke the same responses and conversations – this time on the subject of severely disabled people. Recognising that, like in theatre, listening is one of the fundamental acts of photography, Hanna-Katrina’s answer to what her ultimate goal would be is admirably low-key.
It would be nice to answer this question with something imaginative, but I’m going to say something functional. My ultimate goal is simply to be able to keep working, to earn a living, to continue to communicate and have conversations.” “
Hanna-Katrina Jędrosz - I Feel Every Stone Of The Road
Hanna-Katrina JÄ™drosz - Promenade I keep returning to is those surrounding the shifting notions of Girl Culture. This is taking shape as a combination of candid documentary photography and portrait series.
A means of expressing the inner self Kylie Chan Illustration
As a kid, Kylie Chan read lots of Japanese comics. She started developing her drawing techniques based on these and turned her fantasy dreams into stories. In one of these stories she had a superpower; in another, she could save the world. What couldn’t be real and what she couldn’t have were placed into comics. As Kylie grew older however, her drawings became a form of emotional
of my drawings are from my real moods and feelings (most of them are sad),” she said. “I draw what I know, what I see all from real life.”
Drawing helps Kylie express and
“Now enables her to record her experiences not I’m not as creative any- only for herself, but for viewers to get to know her and understand her. “I like more, there’s less fantasy to record everything about and more reality. Most myself – my feelings, my release to help her feel better.
Kylie Chan - Chloe (zine) A story about a girl called Chloe, she love everything is spring green.
life in general, my experiences in order to let people know more about my real self,”
“Maybe because I’m not a talkative person and not good at writing, drawing can help me communicate with peo-
ple.” Kylie describes herself as lazy, messy and a troublemaker, but people think she’s much sweeter than this view of herself. She said people think she’s a shy, careful and friendly girl (although her best friends think she’s evil!)
Born and bred in Hong Kong, Kylie attended school in the pearl of the orient before she went to London to study at the Camberwell College of Arts. She is currently a part-time worker in a gallery and a freelance illustrator. A lot of Kylie’s works focus on figures of women, which she says is actually her own shadow.
Kylie Chan - Are You Ready I just love drawing people doing exercises, especially swimming, bicycle, good to see the human wearing lesser clothes (can see the body shape/ muscle) with movements and become a picture. It looks funny.
Drawing helps her be true and real and it is honest expression. “Some-
times, even if you are talking with my real person, I am not showing the real, true and whole me,”
them because I want people to buy and keep my works easily and send them around the world,” she said. Her zines are currently being sold in Japan, Taiwan, China and Hong Kong’s Odd One Out Gallery. Also a lover and collector of badges, she has made her own collection, which is selling in Kubrick Hong Kong.
As for how she goes about her work, Kylie admits she has no patience. “I won’t do she said. It is much easier for her sketches before I start drawing to draw and convey her true self and I get bored easily so I usually on paper rather than in person. just draw directly and quickly. I never do the same drawing twice,” Kylie makes zines filled she said. She mainly draws at with illustrations. “I home about mid-night because made she said she has more con
centration at this hour. She uses a rOtring pigment ink pen, Chinese brush and Chinese ink (the latter which is her favourite) to complete her works. Upon completion of her drawings, she will scan them into her computer to keep a record of it.
When Kylie draws, she admits she can make mistakes but she embraces them and realises that her final outcome is usually better than she expected. She
also mainly creates monochrome illustrations â€“ these take her about half an hour to complete. Kylie said she only uses colour when she does magazine freelance jobs or is working with Photoshop.
Talking about the future, Kylie hopes for several
â€œI hope my drawings can be lazier â€“ like simple line drawings but at the same time can explain the story behind
(very possible) things:
it so that people will easily understand it and everyone can read it,” she said. “I also
hope that when people talk about my zines, they’ll think about me immediately.”
Kylie is working on a new collection for her zine, which are about one girl with one colour and her own story. Her first collection is called Chloe, which is all in the theme of green. The next one she said for example could be called Lucy in the theme of purple. “Hopefully
when the reader collects the whole series it will look very colourful on the bookshelf.”
What is it...
Silk screen printing 101
We know who she is...
but what are these...?
When fairytales meet prints
Dress In Print Collaboration With Sophie Traverse
Left: Sophie Traverse // Right: Tania Cheung
In an earlier issue of Garde Magazine, we featured an independent fashion print designer, Tania Cheung, with her brand: Dress In Print. Now collaborating with the multi-disciplinary creative, Sophie Traverse, a colourful and sportive series is born. Garde Magazine talked to the creative couple for further wearable creative inspiration. G: Garde Magazine / T: Tania / S: Sophie G: How do you two know each
other? T: I came across Sophie’s works one year ago in 2014 on Instagram and her blog. After that I decided to get in touch with her and propose a collaboration with Dress In Print. G: How did you two confirm the direction of the collaboration? T: Sophie’s black and white illustration caught my eyes back then. Coincidently those illustrations were inspired by fairy tales such as “The Red Shoes,” “The Devil with Three Golden Hair” and
“The Little Match Girl,” so as my previous collection. S: I have never worked on collaboration before. Tania approached me with the idea of creating illustrations. I thought it would be such a growing and interesting opportunity so I accepted right away. G: Why is this collaboration focused on sportswear? T: I am a very sportive person and so are my friends. We are interested in all kinds of sports such as dancing, fitness, cycling and hiking, etc. Yet it is very dif-
ficult for us to find good fittings and nice designs of sportswear that has to be made of breathable materials and flattening fit to bodies. We
realised that the easier and simpler the design and materials, the harder to be found. Therefore, I decided to play around with prints on workout clothing while keeping the materials to the highest standard in order to motivate female consumers to work out and sweat in style. G: What is the most interesting conversation between you two during the creative process?
We took some time to discover each other’s artistic past and how we found our love in what we do. In short, we have to T:
know more about each other for collaboration. We have exchanged styles and techniques that we can illustrate and produce together. It was really interesting to find out how Sophie began her drawing journey with daily sketches then gradually developed into keeping an art journal on her blog. Our conversations are always about “how to generate
prints with Sophie’s styles.” G: Are there any arguments/disagreement?
Since we have diverse domain knowledge and style in art, we have to communicate constantly throughout the design development process in order to create an outcome that would T:
Inspiration from fairytales for the Collaboraton by Sophir Traverse
that were difficult to be practiced in reality? Any examples? T: Sophie’s style is very unique and the reason in submitting as much works as possible is to have sufficient raw materials to generate the most elite print style. I enjoy working with all of her original works!
be happy to the market and both of us. There weren’t
any arguments because that is the whole point of Dress In Print’s ethos in crossover, to mix different elements in order to generate a unique art product. S: We didn’t have any issues concerning the progress of the project. At times I felt a little pressured since I wanted to do great and Tania wanted to get a certain number of illustrations to choose from. But in the end I delivered all the illustrations in time. G: For Tanis: did Sophie bring up some ideas
G: For Sophie: did Tania allow you to create freely or had she given you particular restrictions/rules? S: Not really, she did give me clear directions, as for the illustrations had to be inspired by these three particular fairy tales, as well as the number of drawings I had to create. I also had a deadline, of course. G: What is the biggest difficulty to collaborate between two creators? S: We didn’t have any difficulties understanding each other in that aspect. Since we do very different things, we both felt to create what we wanted to, and express ourselves freely. T: Aside from the beginning where I have to explain how Dress In Print’s crossover works (since it is a new concept), the collaboration process was pretty inspiring and joyful!
G: Would you two have a chance to collaborate again? S: Yes, we have to because Tania still has a lot of ideas and print designs that she wanted to develop through Sophieâ€™s drawings.
There are lots of possibilities pending. G: Any tips for creators who are interested in collaborating?
To make a great collaboration, you need to be able to communicate well to the other one, as much as posS+T:
sible. Dissatisfactions come from not understanding the othersâ€™ point of view, so the important thing is to express your ideas and motivate other artists. Then you can come up with results that will inspire both parts.
Explicit coming u
t graphics up If you are not interested in a movie review of zombi2, then you have finished reading this magazine. Thank you very much!
Zombi 2 (1979), Variety Film Production. Directed by Lucio Fulci. Wikipedia.org
Zombi 2 is an Italian exploitation film from 1979 and directed by Lucio Fulci. This original title was given not because it was an official sequel to Zombi, but to cash in on George A. Romeros’ Dawn of the Dead, which was released in Italy the year prior to great commercial success under the title Zombi. Because of its title, the film has a reputation of being a cheap knockoff of Romero’s instant classic, although the people who gave it this reputation probably never saw
briefly explain what an exploitation film is. They are a very broad genre of cheaply made, violent genre films, mostly horror and action, aimed at teenagers and blue collar workers. They were especially popular in the 1960’s to the late 1980’s but also exist in today’s market often in the form of movies paying homage to the old films of the exploitation genre such as Grindhouse (2007), Machete (2010) and Hostel (2005).
the damn thing. In
It should be stated that as is the case
truth, the two films have very little in common with one another other than sharing genre and of course the main antagonists, the zombies. Before we go any further, let me
Zombi 2 is an incredibly graphic film, so violent in fact that it earned its director the nickname ‘The godfather of gore.’ It contains with most of its peers,
everything from prolonged scenes
of cannibalism, eye puncturing, throats getting ripped out to heads getting bashed in. These scenes of extreme violence is what the film is most fondly remembered for by its avid fans although it is certainly not the only thing the film has going for it, as I will explain in this article. Zombi 2 follows four Americans, a journalist named Peter West, Anne Bowles and a couple
Susan Barett and Brian Hull, who travel to the small island Matul, located in the Antillies to track down Annes’ father, who at the start of the movie has been missing for months. On Matul they encounter Dr. Menard who happens to be the island’s only remaining white man. He explains to his guests that the dead has come back to life to eat the living. From there it’s a pretty standard zombie affair. The four
main characters are killed one by one in brutal encounters with the zombies until a few survivors manage to escape after a final siege in an abandoned church. The film does have several idiosyncrasies that makes it unique compared to its American counterpart, Dawn of the Dead. First and foremost
the film’s setting differs wildly from that of Dawn
of the Dead or other contemporary American produced zombie films. While
the latter usually takes place in an urban environment, Zombi 2 takes place on a remote island complete with long forgotten cemeteries, run down churches and zombie infested bungalows. The zombies are also not white as they are in American zombie films, but instead black natives from the island and conquistado-
res - the Spanish who in the past came to the Caribbean Islands to colonise islands like Matul. While this idiosyncrasy is not immediately significant, upon further analysis of the film, it becomes one of the more interesting aspects of the film. See the zombies in Zombi 2 are a direct response to the zombie’s original, racist point of origin. The zombie was in the West
introduced as a form of exotic ‘boogey-man’ who was depicted in extremely fictionalised travelogues such as William Seabrook’s The Magic Island from 1929.
This representation was used as a vindication of white imperialism, as the colonised were seen as pagan sub humans, which justified
Zombi 2 (1979), Variety Film Production. Directed by Lucio Fulci. Sinsofcinema.com
Zombi 2 (1979), Variety Film Production. Directed by Lucio Fulci. Cinefilles.wordpress.com
the complete domination over them. Some critics of the film have accused it of being racist because of this depiction. These critics state that the zombies in Zombi 2 represent immigrants from other countries coming to the West by posing a similar threat as the zombies - that their culture is incompatible with ours, that they should be seen as violent invaders and that they are naturally hostile towards us. Another interpretation of the zombies in Zombi 2 is that they
represent not immigrants, but the oppressed, colonised nativeâ€™s weapon against the white invaders. The white protagonists of Zombi 2 are killed with the same violence and gruesome mutilation, which laid the foundation for a dominant, white society, in part built on resources pillaged from colonised countries and natives forced into slave labor.
In other words the film does not take the side of the group of white protagonists fighting against an unknown force of
animalistic monsters summoned by the vile and inhuman locals, nor do the zombies represent a racist and irrational fear of foreigners immigrating to the West. Instead, the zombies can be seen as a representation of the discontent shown by the colonised natives towards the West,
in a literal sense buried, but not forgotten. Taking this interpretation of the zombies in Zombi 2 a step further, the specific inclusion of a conquistador zombie
could represent white guilt back from the past to haunt its forbears. With this said however, there are several technical aspects inherent to this specific genre that I could imagine would make a film such as Zombi 2 hard to
post filming. This was a
widespread technique used in exploitation films made outside of the US both because the intended audience was often English-speaking and most of the actors werenâ€™t, and it kept production costs to a minimum. Another issue with the film is
result the dialogue is in general pretty stiff and atrocious. Whereas the dialogue is bad and the dubbed sound effects
the rest that the script was dubbed soundtrack obviously written of the technical aspects of Zomand voice over, in Italian, and then meaning that every bi 2 are an abhastily translated sound you hear in solute marvel to the movie was added to English. As a sit through. First of all is the
behold. Most notably are the practical effects used in the
special make-up and effect wizard Gianneto De Rosso film made by
. Both the zombies themselves and the way in which they kill the protagonists are artistically striking and inventive. These effects are further enhanced
by a unique soundtrack inspired by progressive rock of the 1970â€™s and a fantastic cinematography which both takes clues from the slasher genre with the a lot of point-of-view camera settings and the spaghetti western genre with its many extreme close-ups of charactersâ€™ eyes, smoking gun barrels and open flesh wounds. These factors make Zombi 2 an incredible visual experience, more than a strong narrative story thereby diminishing the importance of the awful dialogue.
While Zombi 2 certainly has its audience, it is a film that is often looked down
Zombi 2 (1979), Variety Film Production. Directed by Lucio Fulci. Wikipedia.org
upon, not being considered to have any cinematic value outside of its initial shock value. However, while the origin and intent
the cinematic understanding, memorable scenes, rich thematic nature and unique stylistic choices both in terms of cineof this film is certainly exploitative,
matography and music makes it worthwhile of the attention of any fan of cinema, not just gore hounds such as myself. And if that doesn’t sell you, there’s a scene in the film featuring a real life shark fighting off a zombie.
Now go watch this piece of cinematic brilliance. That’s right. An actual, god damn shark.