31.05.2024

By Selene Picone

The popularity of zombie movies has surged in recent years. Despite never being a huge fan myself, I was intrigued when we were prompted to watch The Girl with All the Gifts in our seminar Apocalypse Now: Plagues, Pandemics and Other Catastrophes. Directed by Colm McCarthy, the movie is a post-apocalyptic film that plays in a dystopian world, which is affected by “Hungries”, who are effectively zombies. At a first glance, The Girl with All the Gifts seems like a typical zombie movie, with zombies overrunning the remaining civilisation, a group of survivors fleeing, conflicts and the search for a solution. However, after watching the movie for the first time, it became apparent to me, that it is trying to say so much more. Thus, I felt inclined to analyse the movie within the context of racialisation and feminism.

Melanie, the young black protagonist, defies conventional movie tropes through her intelligence and resilience despite being held captive as an intelligent Hungry. Her experience echoes modern forms of colonisation, underscoring themes of suppression and autonomy. Miss Justineau, her white teacher, embodies the nurturing side of womanhood and challenges prejudices by recognising Melanie's humanity beyond her Hungry status. In contrast, Dr. Caldwell, the elder white female scientist, embodies a traditional patriarchal mindset, unwavering in her adherence to it. The film's exploration of conflicts within the gender system, particularly evident in Dr. Caldwell and Miss Justineau's clashes, serves as a poignant commentary on contemporary societal issues.

Dr. Caldwell maintains her scientific stance, influenced by patriarchal norms, steadfastly refusing to acknowledge Melanie's humanity, and denying her humane treatment. In failing to see Melanie and the Hungries as equals, she neglects the needs of marginalised groups. Meanwhile, Sergeant Parks, a military officer representative of traditional masculine values of control and authority, prioritises the protection of the remaining humans above all else. Ultimately, he fails to recognise Melanie’s revolutionary potential. This clash of ideologies hinders dialogue between opposing beliefs. Melanie's poignant question towards the film's end, "Then why should it be us who dies for you?", when Dr. Caldwell tries to convince her to die for a vaccine to be produced, highlights the unjust burden placed on marginalised groups, particularly people of colour, with the marginalised bearing the consequences while others reap the benefits.

The film also offers a critique of racial stereotypes prevalent in movies. Evoking cinematic tropes and stock characters like the “Magical Negro” or the “Sacrificial Negro”, who typically possess supernatural abilities to assist white protagonists or sacrifice themselves for their benefit, Melanie ultimately defies these conventions. These tropes perpetuate racial stereotypes by reducing black characters to supporting roles for white protagonists. In contrast, Melanie takes centre stage, actively shaping the narrative with her actions. Scenes depicting Melanie's transformation and empowerment symbolise a departure from stereotypical portrayals of black characters in media.

By using its narrative to explore the intersectionality of race, gender and age, the film effectively portrays a rebellion against the white patriarchal system by marginalised groups, as well as challenging societal norms and racial stereotypes. It urges the viewer to reconsider their own perceptions of race, gender, and power and ultimately a critical reflection on the complexity of social hierarchies and the importance of collective resistance in our own world.

Further readings:

Bradshaw, Peter. "The Girl with All the Gifts Review – Intelligent Zombies with Action and
      Heart." The Guardian, Guardian News and Media, 25. Sep. 2016, 
      www.theguardian.com/film/2016/sep/25/the-girl-with-all-the-gifts-review-glenn-
      close-gemma-arterton. Accessed 27 May 2024

Hughey, Matthew W. “Cinethetic Racism: White Redemption and Black Stereotypes in
      ‘Magical Negro’ Films.” Social Problems, vol. 56, no. 3, 2009, pp. 543–77. JSTOR,
      doi.org/10.1525/sp.2009.56.3.543. Accessed 27 May 2024.

Collins, Patricia Hill. Black Feminist Thought: Knowledge, Consciousness, and the Politics
      of Empowerment. 2nd ed., Routledge, 2000. negrasoulblog.files.
      wordpress.com/2016/04/patricia-hill-collins-black-feminist-thought.pdf. Accessed 27 May 2024.