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Message: <blockquote data-quote="Guest&nbsp; 85555" data-source="post: 8572258">And here I think people tend to move too far in one extreme or another: i.e. only what the author intended matters versus the author doesn't matter at all and only my interoperation matters. I think movies can be made for one reason but hit one something that resonates for other reasons, or resonates with a later generation because of something unique to their time. And it is fine to find that kind of meaning or personal meaning in art. But I think we also have responsibility as viewers to try to understand the intentions of the artist and try to understand the context of art (to your point about the Illiad). That is why I think the point you raised is fair: if Romero did in fact say there was no subtext (and again, I don't know what he said, so I am not laying out conclusions here on that) then that definitely sheds different light on the predominant interoperation of the movie. At the same time, I think given the time it was made, the civil rights interoperation is an understandable and fair one (there is a lot in the film, not just the casting to weight that interpretation). I remember Romero also saying when Land of the Dead came out that people should know his movies always have more layers of meaning and subtext to them. But I am not Romero scholar, so I don't know what to make of the different remarks. I always assumed Dawn of the Dead remake having fast zombies was either an homage to films like Return of the Living Dead or a response to 28 Days Later. I remember liking it. I haven't seen it in a while though (I saw it when it came out and a few times in the intervening years). I don't get the 9/11 interoperation. That seems like a very wonky way to interpret subtext of zombie locomotion to me. I can see 9/11s influence on things like 24 and the Sopranos, and Harold and Kumar, but not as much on a movie like Dawn of the Dead (maybe the idea of a big disaster having more resonance with audiences but that is about it).</blockquote>

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