Introduction
In the field of English Studies, particularly within cultural and film analysis, the concept of superculture—often understood as the dominant, commodified cultural framework of late capitalism—intersects intriguingly with Fredric Jameson’s theory of pastiche. Pastiche, as Jameson describes it, refers to a blank parody or imitation without satirical impulse, symptomatic of postmodern culture’s depthless recycling of styles (Jameson, 1991). This essay explores how superculture relates to the teaching of pastiche, using George A. Romero’s films Dawn of the Dead (1978) and Day of the Dead (1985) as key examples. These zombie apocalypse narratives critique consumer society through pastiche elements, blending horror with social commentary. Drawing on 3 academic sources, the discussion will examine theoretical foundations, followed by film-specific analyses, highlighting how these works illustrate superculture’s influence on cultural production. By doing so, the essay argues that Romero’s films teach pastiche as a tool for exposing the superficiality of supercultural norms, though with limitations in depth.
Understanding Superculture and Pastiche
Superculture can be broadly defined as the overarching, homogenised cultural system driven by consumerism and media saturation in postmodern societies. It emerges from late capitalism, where cultural artefacts are commodified and recycled endlessly, leading to a loss of historical depth (Jameson, 1991). Jameson’s theory of pastiche is central here; he argues that in postmodernism, pastiche replaces parody because there is no ‘normal’ style to mock—everything is a surface-level imitation, arguably reflecting superculture’s dominance. For instance, media and film often borrow from past genres without innovation, creating a ‘flat’ aesthetic.
This framework is particularly relevant to teaching pastiche in English Studies, as it encourages students to analyse how texts mimic and critique societal structures. Romero’s zombie films exemplify this, using horror tropes to pastiche consumer culture. As Bishop (2010) notes, these works draw on gothic traditions but adapt them to modern anxieties, such as commodification, thereby demonstrating pastiche’s role in cultural critique. However, Jameson (1991) warns that pastiche can sometimes reinforce superculture rather than subvert it, a tension evident in Romero’s narratives. Indeed, while teaching pastiche highlights creative borrowing, it also reveals limitations, such as the risk of superficiality without deeper ideological engagement.
Pastiche in Dawn of the Dead
Romero’s Dawn of the Dead vividly illustrates pastiche within superculture through its setting in a shopping mall, a symbol of consumer excess. The film pastiches 1970s American life by depicting survivors who barricade themselves in the mall, indulging in its goods while zombies roam outside—a blank imitation of pre-apocalypse routines without satirical edge (Jameson, 1991). This setup critiques superculture’s commodification, as characters mimic shopping behaviours in a world devoid of meaning, highlighting how pastiche reflects cultural emptiness.
Bishop (2010) argues that the film’s use of zombie hordes as metaphors for mindless consumption draws on horror pastiche, blending elements from earlier films like Night of the Living Dead (1968) with contemporary satire. For example, scenes of zombies shuffling through stores parody advertising and materialism, teaching viewers about superculture’s homogenising effects. However, the film’s reliance on gore and action arguably limits its critical depth, aligning with Jameson’s view of pastiche as stylistically innovative yet ideologically flat. In educational contexts, this film serves as a case study for analysing how pastiche exposes societal flaws, though it sometimes perpetuates the very consumerism it critiques.
Pastiche in Day of the Dead
In contrast, Day of the Dead extends pastiche into a militarised, underground bunker setting, pastiching Cold War-era science fiction and survival narratives to critique institutional superculture. Here, scientists and soldiers clash amid zombie threats, imitating hierarchical structures without genuine resolution, embodying Jameson’s notion of depthless simulation (Jameson, 1991). The film’s zombie ‘Bub’—who learns basic behaviours—pastiches human civility, underscoring superculture’s reduction of individuals to programmable consumers.
Williams (2003) analyses how Romero employs pastiche to blend horror with political allegory, drawing on Vietnam War imagery to highlight bureaucratic failures. This approach teaches pastiche as a method for subverting dominant narratives, yet it reveals limitations, such as the film’s occasionally formulaic plot, which mirrors superculture’s repetitive media cycles. Typically, in English Studies, such examples encourage students to evaluate pastiche’s applicability, recognising its potential to address complex problems like societal collapse while acknowledging interpretive constraints.
Conclusion
In summary, superculture relates to the theory of pastiche by manifesting as a commodified, imitative framework in postmodern texts, as seen in Romero’s Dawn of the Dead and Day of the Dead. These films use pastiche to critique consumerism and institutional decay, supported by Jameson’s theoretical lens and analyses from Bishop (2010) and Williams (2003). The implications for teaching are significant: pastiche fosters critical awareness of cultural recycling, though its limitations—such as superficiality—highlight the need for deeper engagement. Ultimately, studying these works in English Studies equips students to navigate superculture’s complexities, promoting nuanced interpretations of media and society.
References
- Bishop, K.W. (2010) American Zombie Gothic: The Rise and Fall (and Rise) of the Walking Dead in Popular Culture. McFarland.
- Jameson, F. (1991) Postmodernism, or, The Cultural Logic of Late Capitalism. Duke University Press.
- Williams, T. (2003) The Cinema of George A. Romero: Knight of the Living Dead. Wallflower Press.
