摘要：This paper develops a particular enquiry that I first set out during my practice - based doctoral thesis. Whilst my writin g here is a theoretically driven piece of research, it also attempts to formulate a speculative notion of political practice. In particular, it sets out to use zombie aesthetics in order to mobilise a critically engaged and practical response to the homoge nising operations of late capitalism. Instead of treating undeadliness as an allegorical articulation of the contemporary condition – a fruitful though well - trodden endeavour – I attempt to use zombie cinema as a methodological blueprint or instruction man ual for how we might do politics. So I do not try to read the image of undeadliness as much as I focus on the formal filmic devices that made George Romero's early zombie films so compelling. I set up the term 'haptic undeadliness' to describe a particular quality in Romero's films whereby a prevailing sense of diegetic integrity and narrative coherence is ruptured by the visceral spectacle – the slimy gore and the unreadable affective weirdness – of the undead corpse. I then go on to understand our own pol itical status quo as a conceit that might be antagonised by a similarly haptic strategy.
