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If the definition of politics is the management of power and conflict, then my favorite movie, 28 Days Later, is political because it focuses on the fight for power and the attempt to resolve a dispute between two opposed parties. Politics and its impact on human life is essential not only for the matters of state but also for the entertainment and media, which often use power and conflict mitigation as prominent topics to explore (Franklin, 2016). Multiple works illustrate how the human desire to attain power over others can lead to diverse circumstances, directly affecting the overall social setting. However, some works discuss the fight for power that emerges from an opposition between two hostile parties, emphasizing that political issues can manifest in dangerous scenarios. As such, 28 Days Later is a good example of a political movie that depicts the struggle to mitigate a threatening conflict. This work examines 28 Days Later from a political perspective, exploring its characteristics and political aspects.
28 Days Later is a post-apocalyptic drama film with a length of 113 minutes, directed by Danny Boyle in the United Kingdom. I especially favor this movie as it depicts the challenges that society has to face, addressing such issues as a viral catastrophe, the union of humanity under dire circumstances, and retaliation. Designed for an adult audience interested in the post-apocalyptic genre and fictional storytelling, the work utilizes these instruments to fulfill the purpose of illustrating how extreme life-threatening circumstances might impact individuals (Hall, 2011). In this regard, the main characters are a small group of people surviving the adverse consequences of a virus outbreak, trying to establish an environment safe from the infected individuals, dangerously aggressive towards survivors. Jim, Selena, and Hannah are the lead heroes in this story, who previously led ordinary lives but are now forced to overcome the challenges of the pandemic.
In the surrounding environment of infection, desolation, and lack of security, the protagonists are forced to fight for their survival. Although power is not the central feature, it is specifically discussed in the episode in the fortified mansion led by Major Henry West. The Major utilizes his protective environment to coerce female survivors into entering the estate, later using them as sexual slaves. Although the movie is based in the contemporary era, the social setting is adversely impacted by the ongoing epidemic, which eradicated the majority of London’s population (Echeverría-Domingo, 2018). Thus, the story depicts the lives of survivors who are in conflict with the infected population, which attempts to kill them, and with the military class, which usurps its military excellence.
28 Days Later is especially important for society as it examines pertinent political and social issues. The subjugation of power evident in Major West’s behavior excellently depicts the current circumstances in the communities that suffer from the actions of military usurpers. Considering such an interesting, fictional take on a vital contemporary subject, it was exceptionally well received, potentially changing the people’s perceptions towards horror or post-apocalyptic films, previously regarded as lacking storytelling or specific purpose (Echeverría-Domingo, 2018). I believe that both young and older adults could benefit from watching this movie, as it illustrates how the abundance of power can be dangerous, causing social and ethical conflict. However, demonstration of the appropriate use of power, depicted in Jim’s actions to dispose of the Major, is also present, enabling the audience to understand how to cope with authority or influence abuse. Personally, I have learned that political life manifests itself in a variety of ways and can even become a tremendous issue in extreme life-threatening circumstances.
References
Echeverría-Domingo, J. (2018). The rise of the outbreak genre: 28 Days Later and the digital epidemic. English Studies in Canada, 44(3), 49–66.
Franklin, D. P. (2016). Politics and film: The political culture of television and movies. Rowman & Littlefield.
Hall, D. (2011). Varieties of Zombieism: Approaching comparative political economy through 28 Days Later and Wild Zero. International Studies Perspectives, 12(1), 1–17. Web.
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