Violence In World War Z

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World War Z (2013) is an action horror film in which Gerry Lane (played by Brad Pitt), a former United Nations member, is assigned by the government to stop the infection that is transforming people into zombies. Matthew Leggatt describes movies as such made after the terrorist attacks in the United States on September 11, 2001 as post 9/11 apocalyptic and disaster films. He claims that these movies are brutally violent, packed with redemption, and isolationist. Marc Forster’s World War Z falls directly into Leggatt’s definition of post 9/11 apocalyptic films. Leggat describes post 9/11 apocalyptic films as extremely violent, and persistently involving the unavoidable obliteration of human society. He claims that these films are “often not…show more content…
World War Z is most definitely not a family film, as it is extremely violent, with scenes of zombies eating people, guns, missiles, and bombs being used to fend off the zombies, and the occasional close up of Lane bashing a zombie’s head with a melee weapon. Unless one is entirely desensitized to such blood and gore, it can be relatively cringe-worthy. This film is also gritty in an aesthetic sense. Not only is the audience bombarded with violence throughout the film, but the places that Lane travels to are unpleasant. In South Korea, viewers see little of anything else but grey concrete and rain. In Jerusalem, the city is guarded by walls, full of fearful people, and the audience can feel the grit of the sand. Finally at the WHO research facility in Wales, the inside of the building is somber, daunting, and almost…show more content…
He states, “Redemption is the point of these films: the world must be saved so that in films to follow it can be blown up all over again” (328). This perpetuates the endless “cycle” Leggatt mentions of post 9/11 apocalyptic films. World War Z shows Garry Lane’s journey to save the planet from the zombie outbreak by finding a cure. There is no reason why this film could not be a prequel or sequel to another post 9/11 apocalyptic film. Moreover, these films typically have similar conclusions. The protagonist is successful and saves the world and/or finds a solution to the crisis. Leggatt states, “When we sit down to watch [post 9/11 apocalyptic films] we already know that, come the eleventh hour, humanity will save itself” (328). Viewers are not surprised by what they

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