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Journal articles on the topic 'Zombie firm'

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Published: 9 March 2023

Last updated: 10 March 2023

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1

Schivardi, Fabiano, Enrico Sette, and Guido Tabellini. "Identifying the Real Effects of Zombie Lending." Review of Corporate Finance Studies 9, no. 3 (July 7, 2020): 569–92. http://dx.doi.org/10.1093/rcfs/cfaa010.

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Abstract The policy response to COVID-19 includes the provision of credit guarantees to firms, a provision that may generate zombie lending. According to the recent literature, the relative performance of healthy firms deteriorates as the fraction of zombies increases. We argue that this literature faces a serious identification problem, because firm performance is often used to define zombies (sometimes implicitly). We show that, under general conditions for the distribution of firm performance, the correlation between healthy firm performance and zombies is a mechanical consequence of an increase in the fraction of zombies with no causal meaning. (JEL E44, G21) Received June 2, 2020; editorial decision June 23, 2020 by Editor Uday Rajan.

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2

Caballero, Ricardo J., Takeo Hoshi, and Anil K. Kashyap. "Zombie Lending and Depressed Restructuring in Japan." American Economic Review 98, no. 5 (November 1, 2008): 1943–77. http://dx.doi.org/10.1257/aer.98.5.1943.

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Large Japanese banks often engaged in sham loan restructurings that kept credit flowing to otherwise insolvent borrowers (which we call zombies). We examine the implications of suppressing the normal competitive process whereby the zombies would shed workers and lose market share. The congestion created by the zombies reduces the profits for healthy firms, which discourages their entry and investment. We confirm that zombie-dominated industries exhibit more depressed job creation and destruction, and lower productivity. We present firm-level regressions showing that the increase in zombies depressed the investment and employment growth of non-zombies and widened the productivity gap between zombies and non-zombies. (JEL G21, G32, L25)

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3

Jung, Ki-Hun, Jae-Ik Lee, and Hyun-Sik Kim. "A Study on the Determinants of Zombie Firms: Based on Debt." Korea International Trade Research Institute 18, no. 6 (December 31, 2022): 385–98. http://dx.doi.org/10.16980/jitc.18.6.202212.385.

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Purpose – This study empirically analyzes the effect of debt on the risk of entering zombie firms. Design/Methodology/Approach – This study empirically analyzes using a logistic model as to whether debt acts as a determinant of zombie firms using Korea listed firms data from 2010 to 2021. The risk of entering a zombie firms uses the interest coverage ratio. If the interest coverage ratio is less than 1, the risk of entering a zombie firm is considered to have occurred. Using the debt growth ratio and changes in total borrowings and bonds payable to total assets (TBBP) as explanatory variables, we analyze whether the debt increases the possibility of entering zombie firms. Findings – First, debt increasing has significant and positive effects on the risk of entering zombie firms, which is a factor that prevents the firm from continuing business activities as profitability deteriorates due to increased financial costs. Second, while the ratio of debt increase has significant result only at a specific stage, the change in TBBP is significant in all stages. This implies that weak financial structure stability has a greater effect on the possibility of firm insolvency than the burden of interest increases. Research Implications – This study has the following contributions. First, we confirm whether debt can act as a determinant of zombie firms. Second, by analyzing debt growth and debt dependence, we confirm that the weakening of financial stability has a greater impact on the risk of entering a zombie firm than the increase in financial costs.

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4

Deng, Ming, and Jinbo Wang. "Why do zombie firms seldom die or resurrect? The effect of government subsidies on the survival duration of China’s zombie firms." Economics 16, no. 1 (January 1, 2022): 212–28. http://dx.doi.org/10.1515/econ-2022-0029.

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Abstract One of the most important tasks in China’s supply-side structural reform is to effectively clean up zombie firms. Using industrial firm-level data in China from 1998 to 2007, we identified zombie firms in Chinese industrial sectors. Based on the identified zombie firms, we measured the survival duration of zombie firms and empirically studied the effect of fiscal subsidies on the survival duration of zombie firms by using survival analysis. Results revealed that fiscal subsidies significantly lengthened the survival duration of zombie firms. Specifically, fiscal subsidies not only reduced the possibility of zombie firms exiting the market, but more importantly, they reduced the possibility of zombie firms’ resurrection. Thus, fiscal subsidies do not contribute to the “death” or “resurrection” of zombie firms. These results are robust despite changing the identification method and the survival analysis method, and considering the endogeneity of fiscal subsidies. Our findings show that we should adhere to market-oriented mechanism in disposing zombie firms and cut off the channels that government transfuses to zombie firms by fiscal subsidies.

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Novita, Santi, Bambang Tjahjadi, and Andry Irwanto. "ZOMBIE DAN DIVERSIFIKASI DALAM MASA KRISIS KEUANGAN GLOBAL." Jurnal Reviu Akuntansi dan Keuangan 9, no. 3 (December 3, 2019): 295. http://dx.doi.org/10.22219/jrak.v9i3.9904.

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This study aims to examine whether a firm with a higher degree of related diversification is less likely to have a zombie condition during the global financial crisis. The research sample is non-financial firms listed on the Indonesia Stock Exchange in the year of the global financial crisis from 2007-2009. Data are analyzed using logistic regression. The results of the study indicate that a firm with a higher degree of related diversification is less likely to have a zombie condition during the global financial crisis. Furthermore, the effect of this diversification proves to be higher for a firm with a domestic orientation than an international orientation

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6

Góra, Daniel. "Zjawisko firm zombie i jego przyczyny." Ekonomia 25, no. 3 (November 15, 2019): 9–23. http://dx.doi.org/10.19195/2084-4093.25.3.1.

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The causes of the existence of zombie firms The aim of this paper is to specify and describe the factors that contribute to the prevalence of zombie firms, defined as old, unprofitable, nearly insolvent firms which normally would exit the market. Based on the review of the literature, mostly published by the Organization for Economic Co-operation and Development OECD, the Bank for International Settlements BIS and central banks, we conclude that the main causes of the rise of zombie firms in the last 10–20 years have been loose monetary policy especially after the outbreak of the financial crisis of 2007–2008, weak banking sector, overbanking of economies, government subsidies to enterprises and weaknesses of insolvency law. We consider the zombification of economies as a highly important issue since zombie companies could be lowering the pace of capital formation, productivity and economic growth by raising entry barriers, curbing Schumpeterian creative destruction and misallocating capital.

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7

Carreira, Carlos, and Joana Lopes. "The Role of Different Types of Creditors on Zombie Firm Creation." Notas Económicas, no. 55 (December 7, 2022): 129–40. http://dx.doi.org/10.14195/2183-203x_55_6.

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Despite the key role of trade creditors as sources of finance, the literature on their impact on the proliferation of zombie firms is rare. This study examines whether suppliers, such as banks, engage in “evergreen” lending to zombie firms and whether their behavior differs from that of banks. We found that highly productive, larger and younger firms are less likely to become zombie firms. The behavior of suppliers is, in fact, different from that of banks; they are indeed more cautious in lending to zombie firms. Unlike suppliers, banks seem to have contributed to the rise of resource misallocation, a key explanation for the productivity slowdown in the new century.

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8

HUANG, STERLING, and GILLES HILARY. "Zombie Board: Board Tenure and Firm Performance." Journal of Accounting Research 56, no. 4 (July 4, 2018): 1285–329. http://dx.doi.org/10.1111/1475-679x.12209.

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9

Yakushenkov, Serguey N., and Olesya S. Yakushenkova. "The Zombie as a Mirror of Modern Mass Culture." Corpus Mundi 2, no. 4 (December 27, 2021): 15–39. http://dx.doi.org/10.46539/cmj.v2i4.52.

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Zombies were and still are one of the most important symbols of modern mass culture. The zombie discourse originated among African slaves brought to the sugar plantations in the Caribbean. In many ways, the narratives of the “living dead” were a reaction to the crisis phenomena of plantation life. This is evidenced by the rich comparative material presented on many peoples of the world. Such notions of invulnerability after formal death proved to be an important tool of resistance to new conditions caused by external threats. Termed “revitalization,” they were an important element of the Millennialist movements. While initially the sorcerers who could bring themselves back to life were central to these beliefs, in the following period the focus shifted to the victims of various manipulations, transformed into soulless beings. Leaving the environment of their original “habitat,” zombies took on a new life, occupying a firm place in modern mass culture. Having become a symbol of ruthless exploitation of man, relegated to the level of a machine appendage, zombies proved to be one of the most “productive” symbols. They reflected the main trends in the development of society and even began to function as instruments of philosophical reflection. All this allows us to consider zombies as an indicator of altered society, producing new “walking dead”. The metaphors associated with zombies allows us to conclude that the comprehension of zombies makes modern man begin to perceive them constructively, creating a new image, demonstrating the movement towards humanization.

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Acharya, Viral V., Tim Eisert, Christian Eufinger, and Christian Hirsch. "Whatever It Takes: The Real Effects of Unconventional Monetary Policy." Review of Financial Studies 32, no. 9 (January 21, 2019): 3366–411. http://dx.doi.org/10.1093/rfs/hhz005.

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Abstract Launched in Summer 2012, the European Central Bank’s (ECB) Outright Monetary Transactions (OMT) program indirectly recapitalized European banks through its positive impact on periphery sovereign bonds. However, the stability reestablished in the banking sector did not fully translate into economic growth. We document zombie lending by banks that remained weakly capitalized even post-OMT. In turn, firms receiving loans used these funds not to undertake real economic activity, such as employment and investment, but to build cash reserves. Creditworthy firms in industries with a high zombie firm prevalence significantly suffered from this credit misallocation, which further slowed the economic recovery. Received March 21, 2018; editorial decision November 13, 2018 by Editor Philip Strahan. Authors have furnished an Internet Appendix, which is available on the Oxford University Press Web site next to the link to the final published paper online.

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11

Machek, Ondřej. "Determinants of becoming a zombie firm: A Pitch." Journal of Accounting and Management Information Systems 17, no. 4 (December 31, 2018): 677–84. http://dx.doi.org/10.24818/jamis.2018.04009.

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12

Kroulík, Milan. "Pandemics and 'Zombies': How to Think Tropical Imaginaries with Cinematic Cosmologies." eTropic: electronic journal of studies in the Tropics 20, no. 1 (April 19, 2021): 315–39. http://dx.doi.org/10.25120/etropic.20.1.2021.3768.

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The tropics in occidental imaginaries are typically coded as either edenic paradise or as hell. It is in the latter mode that they come to be linked with zombies, diseases, and questions relating to the autonomy of the human body. In this article I first summarise historical connections between colonialism and the tropics as expressed through dealings with disease set against a background of Christian-secular cosmology. I then further think the issue with two films that approach disease and the tropics through the zombie, which I conceive of as radical heteronomy. One film, Zombi 2, is a Euro-American engagement with the tropics as imagined from a temperate zone and a Christian tradition. The other, Cemetery of Splendor, is a Thai film that engages notions of disease and the autonomy of the human body from within the tropics and a Buddhist imaginary. I tie these questions of disease, ‘zombies’ and the tropics in with more general discussions of cosmologies, including those of the moderns. The displacement of modern ontological certainty (which is imagined through the zombie and conditioned by cultural and ideological imagination) opens a space for engaging the problem of a pandemic with notions of subjectivity and corporeality. An underlying thematic throughout this article is an argument for the importance of the cinema image in dealing with bio/socio/political issues. Here, in this translation of the cinematic world into discourse we are engaged at the intersection of tropics, disease, bodies and heteronomy.

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13

Dai, Yun, Xuchao Li, Dinghua Liu, and Jiankun Lu. "Throwing good money after bad: Zombie lending and the supply chain contagion of firm exit." Journal of Economic Behavior & Organization 189 (September 2021): 379–402. http://dx.doi.org/10.1016/j.jebo.2021.06.042.

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14

Endong, Floribert Patrick C. "The Westernization of the African zombie in Nollywood Films." International Journal of Modern Anthropology 2, no. 17 (June 5, 2022): 720–50. http://dx.doi.org/10.4314/ijma.v2i17.2.

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The Nigerian film industry (nicknamed Nollywood) has, over the years, embraced foreign influences as a form of newness and singularity. Many films produced in the industry have displayed the capacity to re-contextualize and indigenize specific forms and styles associated with the global mass culture, including Hollywood horror films and the zombie genre. Thus, there have been at least two ways of representing zombies in the Nollywood films. While most films have depicted zombies according to local African or Nigerian myths, a certain number of recently produced films have displayed representations of these undead creatures (zombies) which are visibly inspired by the Western imagination or fantasies. This thesis could well be illustrated through a critical study of two Nollywood films namely A.C. Enonchong‘s Witchdoctor of the Living Dead and Sam Perry‘s Outbreak 2020. Using the two above mentioned films as case studies, this paper specifically seeks answers to three research questions: how are Western myths about zombies different from those prevailing in the Nigerian socio-cultural space? How has the zombie filmic genre evolved in the Nigerian film industry and how are Western myths about zombies informing or reflected in selected Nollywood films?

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15

Cieślak, Magdalena. "From Romero to Romeo—Shakespeare’s Star-Crossed Lovers Meeting Zombedy in Jonathan Levine’s Warm Bodies." Text Matters: A Journal of Literature, Theory and Culture, no. 11 (November 22, 2021): 157–77. http://dx.doi.org/10.18778/2083-2931.11.11.

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Since their first screen appearances in the 1930s, zombies have enjoyed immense cinematic popularity. Defined by Romero’s 1968 Night of the Living Dead as mindless, violent, decaying and infectious, they successfully function as ultimate fiends in horror films. Yet, even those morbid undead started evolving into more appealing, individualized and even sympathetic characters, especially when the comic potential of zombies is explored. To allow a zombie to become a romantic protagonist, however, one that can love and be loved by a human, another evolutionary step had to be taken, one fostered by a literary association. This paper analyzes Jonathan Levine’s Warm Bodies, a 2013 film adaptation of Isaac Marion’s zombie novel inspired by William Shakespeare’s Romeo and Juliet. It examines how Shakespeare’s Romeo helps transform the already evolved cinematic zombie into a romantic protagonist, and how Shakespearean love tragedy, with its rich visual cinematic legacy, can successfully locate a zombie narrative in the romantic comedy convention. Presenting the case of Shakespeare intersecting the zombie horror tradition, this paper illustrates the synergic exchanges of literary icons and the cinematic monstrous.

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Ścigaj, Paweł. "Zombie jako wyzwanie dla refleksji teoriopolitycznej i dydaktyki nauk politycznych." Annales Universitatis Paedagogicae Cracoviensis. Studia Politologica 25, no. 325 (May 29, 2021): 163–83. http://dx.doi.org/10.24917/20813333.25.10.

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In recent years, zombies have made a stunning career, not only in literature and film, but also in scientificresearch. Zombies appear in scientific discourse as a reflection of fears connected with colonialism,imperialism, capitalism, consumerism, as well as metaphors for threats, like terrorism, asymmetric conflicts,epidemics and many more. It is also a useful concept for capturing ideas and theories remaining in scientificcirculation which are in fact dead. So-called “zombie-categories” reflect theories that either explain nothingor the phenomena they refer to do not exist. Taking this into account, it is hard not to use zombies in politicaltheory, especially as a useful category that enables the identification of “dead and alive” theories. Besides, zombie metaphors seem to be very promising in the political science teaching and a lot of research hasalready been undertaken in that field bringing unexpected and valuable results.

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17

Fuchs, Michael, and Kyle William Bishop. "Zombies and the American Gothic: An Interview with Kyle William Bishop." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (May 15, 2022): 129–44. http://dx.doi.org/10.37536/reden.2022.3.1824.

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Kyle William Bishop is Professor of English at Southern Utah University, where he has been teaching since 2000. He teaches courses about American literature and culture, fantasy and horror literature, film studies, and English composition. Kyle Bishop is the author of American Zombie Gothic: The Rise and Fall and Rise of the Walking Dead in Popular Culture (McFarland, 2010) and his second volume on the zombie is called How Zombies Conquered Popular Culture: The Multifarious Walking Dead in the 21st Century (McFarland, 2015). He is also the co-editor of the book The Written Dead: Essays on the Literary Zombie (McFarland, 2017).

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18

Lee, Sung-Ae. "The New Zombie Apocalypse and Social Crisis in South Korean Cinema (translation into Russian)." Corpus Mundi 2, no. 4 (December 27, 2021): 40–59. http://dx.doi.org/10.46539/cmj.v2i4.53.

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The popular culture version of the zombie, developed over the latter half of the twentieth century, made only sporadic appearances in South Korean film, which may in part be attributed to the restrictions on the distribution of American and Japanese films before 1988. Thus the first zombie film Monstrous Corpse (Goeshi 1980, directed by Gang Beom-Gu), was a loose remake of the Spanish-Italian Non si deve profanare il sonno dei morti (1974). Monstrous Corpse was largely forgotten until given a screening by KBS in 2011. Zombies don’t appear again for a quarter of a century. This article examines four zombie films released between 2012 and 2018: “Ambulance”, the fourth film in Horror Stories (2012), a popular horror portmanteau film; Train to Busan (2016) (directed by Yeon Sang-Ho), the first South Korean blockbuster film in the “zombie apocalypse” sub-genre; Seoul Station (2016), an animation prequel to Train to Busan (also directed by Yeon Sang-Ho); and Rampant (2018, directed by Kim Seong-Hun ), a costume drama set in Korea’s Joseon era. Based on a cognitive studies approach, this article examines two conceptual metaphors which underlie these films: the very common metaphor, LIFE IS A JOURNEY, and the endemically Korean metaphor THE NATION IS A FAMILY.

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19

Blažková, Ivana, and Gabriela Chmelíková. "Zombie Firms during and after Crisis." Journal of Risk and Financial Management 15, no. 7 (July 8, 2022): 301. http://dx.doi.org/10.3390/jrfm15070301.

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The phenomenon of zombie firms is gaining the attention of economists across different countries of the world; the increased interest is particularly evident after periods of economic crises. In our study, we focus on the development of zombie firms in the period before and after the 2008 crisis within two different economies, i.e., Germany and the Czech Republic, to provide insight into how different conditions and the overall economic context affect the fact that companies are more prone to becoming zombie firms. We implemented a difference-in-differences regression model to estimate the treatment effect by comparing the change (difference) in the differences in observed outcomes between these two countries. The data were obtained from two databases—the database Albertina by Bisnode a.s. providing financial statements of enterprises in the Czech Republic, and the database provided by Creditreform AG, which includes annual report data for a large sample of German companies. The dataset of German enterprises included 1,444,698 observations, i.e., 338,923 firms, and the dataset of Czech enterprises included 2,139,462 observations, i.e., 523,542 firms, both across the years 2000–2016, i.e., the data sample covered the period before and after the 2008 crisis. The different development of the share of zombie firms after the great financial crisis between Germany and the Czech Republic was proven as statistically significant. The findings confirm Germany is a country with a more stable economy and with a significantly lower risk of zombie firms’ persistence, while the Czech Republic is at the level of the European average in terms of zombie share. The results also suggest an influence of post-crisis monetary policy on companies and the possible link between low interest rates and a growing share of zombies.

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20

Vétu, Guillaume. "Animist influence and immutable corporeality: Repositioning the significance of Japanese cinematic zombies." East Asian Journal of Popular Culture 7, no. 1 (April 1, 2021): 115–34. http://dx.doi.org/10.1386/eapc_00042_1.

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In terms of zombie film output, Japan’s is perhaps the second largest in the world after the United States and above the United Kingdom. Yet only a relatively small number of these films have received academic attention. Having sourced and verified an exhaustive catalogue of over 160 feature-length Japanese zombie films produced between 1959 and 2018, and through recent field work in Japan, including personal interviews with local film, media and folklore scholars and professionals, this article constructs a clearer overview of this uncharted corpus. It presents some of the most predominant cultural specificities of Japanese zombie films and their compelling narrative and stylistic heterogeneity. Previous assertions confined these films to a ‘cult’ sub-genre, restricting the Japanese monsters they feature to mere western imports; however, this article demonstrates that Japanese cinematic zombies defy simple categorization and repeatedly challenge some of the key posits at the centre of zombie studies, especially regarding their defining characteristics. The Japanese folklore and literary tradition in particular provides a new lens through which these popular fictional ‘Others’ can be (re-)examined, uncovering new significance and offering new insights into both Japanese and western cultures.

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Szyngiel, Elżbieta. "„Duma i uprzedzenie i zombi” Setha Grahame-Smitha i Jane Austen jako popkulturowy recykling kanonu." Literatura i Kultura Popularna 27 (December 30, 2021): 415–29. http://dx.doi.org/10.19195/0867-7441.27.26.

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The article discusses the film adaptation of Pride and Prejudice and Zombies, which is a reference to Jane Austen’s novel, and the problem of zombie characters as a factor modifying the reality of its original version. The analysis was carried out with reference to the plot design of the film, the way of creating heroes and the costumes within the framework of a costume movie in which the story was embedded. The aim of the article is to identify the causes and consequences of introducing undead characters to the world created by Jane Austen. The reasons for this treatment were the popularity of the zombie motif in popular culture, the tendencies to experiment with the reinterpretation of works considered classic and repeatedly processed earlier into the language of cinema, as well as an attempt to adapt them to the requirements of a contemporary recipient seeking strong impressions. In addition, the world of zombies is a manifestation of the popular aspirations to achieve an economic profit. Consequences of completing the world with the undead epidemic theme include changes in the current social order, brutalization and sexualization of relations between characters, as well as a return to the traditional film narration about women, presented primarily as aesthetic objects and a source of interest for male characters.

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22

DeGiglio-Bellemare, Mario. "Border Crossing with the Uninvited in Matthew’s Wedding Feast Parable and Jacques Tourneur’s 'I Walked with a Zombie'." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 3, no. 1 (September 23, 2008): 97–122. http://dx.doi.org/10.1558/post.v3i1.97.

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This article is a theological (re)reading of Matthew’s wedding feast parable (22:1–14) through one of the parable’s specific disruptions: the man without a wedding garment. It argues that the plight of this enigmatic figure critiques Matthew’s dualistic anti-imperial reversal on its own terms and unveils the theology of empire embedded within its narrative. The man without a wedding garment is a border crosser whose presence unleashes a violent reaction from the anti-imperial king of the parable: the king has the man thrown into the “outer darkness.” The second half of the paper crosses into the world of B-horror, where the zombies in the Jacques Tourneur/Val Lewton collaboration, I Walked with a Zombie (RKO: 1943), are border crossers who not only disrupt colonial space, but also achieve a narrative and spatial takeover. Tourneur’s zombie film is offered as a way out of Matthew’s “outer darkness” and into a space of subversive hope. This article argues that border crossing is a subaltern strategy of resistance for the uprooted, dislocated, and excluded of the world.

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Talib Naji, Merwa, and Sana Lazim Al-Ghareeb. "Zombie: A Metaphor of Modern World." Journal of Education College Wasit University 48, no. 1 (August 1, 2022): 435–42. http://dx.doi.org/10.31185/eduj.vol48.iss1.2913.

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Zombies as a sub-genre of horror, has been haunting our spirit as entity which provoke fear that exceeds the limits of horror sometimes. yet what if it is creation was not meant to be an act of entertainment as it is offered and being introduced by film makers and producers? What will we find if we dig deep into the essence of its creation from the beginnings? The fact that this kind of literature works on our deepest fears and uses our anxieties to reach its aim is obviously the means used by the writers to achieve what they want. Moreover that,the zombie is often linked to the concepts of capitalism and industrialization.

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24

Moura, Hudson. "Hollywood’s Viral Outbreaks and Pandemics: Horror, Fantasy, and the Political Entertainment of Film Genres." Revista Légua & Meia 13, no. 1 (January 26, 2022): 97–129. http://dx.doi.org/10.13102/lm.v13i1.7710.

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Films revolving around big natural catastrophes, the end of the world, and global pandemics are viral in Hollywood. Some authors claim that 9/11 enticed the proliferation of disasters, zombies, and apocalyptical narratives. Will the coronavirus further increase these narrative tropes? A cinematic apocalypse takes many shapes, including zombie infestation, nuclear war devastation, and aliens’ attack. Watching films such as Twelve Monkeys (1995), Children of Men (2006), or Contagion (2011) during a real-life global pandemic creates a much different viewing experience than when these films were released. Certain films kill humans with a deadly virus and turn them into zombies emphasizing and pushing forward to a cinema of genre its entertainment features, such as I Am Legend (2007), Train to Busan (2016), or Blood Quantum (2020). However, they also use horror, science fiction, and fantasy genres to portray a realistic compelling family drama or discuss structural racism and systemic colonialism against America’s indigenous peoples. In all these films, scientific ambition, political greed, and economic power intermingle, becoming the unknown forces and real detractors behind these catastrophes. Whether or not the end of the world is an appropriate story for entertainment attracts most viewers to Hollywood cinema. Conventional postapocalyptic tropes create a film riddled with relevant political concerns. Every year, hundreds of films transpose to the screen compelling narratives related to pandemics and their effects. In Coronavirus’s times, I analyze and contextualize several of Hollywood’s viral outbreaks to situate their narratives to current political subjects and understand how disaster and pandemic films have become entertaining. Keywords Hollywood cinema, Film Genres, Pandemics, Coronavirus, Racism, Indigenous, Covid19, Politics, Film Aesthetic, Disaster Films.

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Novita, Santi, Bambang Tjahjadi, and Andry Irwanto. "Industry and Financial Crises in Fragile and Zombie Firms: Does Leverage Matter?" Journal of Business and Economics Review (JBER) Vol.3(3) Jul-Sep 2018 3, no. 3 (September 30, 2018): 51–58. http://dx.doi.org/10.35609/jber.2018.3.3(2).

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Objective - This paper shows how leverage affects firm's fragility and financial soundness during financial and industry crises. Methodology/Technique - Long term inefficient and zombie firms are explored through the effects of leverage in additional tests. Findings - There are two main results obtained from the sample of Indonesian non-financial firms from 2007 to 2016. First, leverage has a statistically significant correlation with firm's fragility. Second, leverage has an effect on firm's financial soundness during industry crisis. Novelty - Unlike the previous paper, this paper demonstrates a significant implication on the need to differentiate fragile firms and firms that are persistently inefficient, such as zombie firms. Type of Paper: Empirical. Keywords: Fragility; Zombie; Financial Soundness; Leverage; Industry Crisis; Financial Crisis. JEL Classification: M20, M41.

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26

Lee, Youngjae. "Zombie Firms and Markups." Journal of Industrial Economics and Business 34, no. 3 (June 30, 2021): 689–711. http://dx.doi.org/10.22558/jieb.2021.6.34.3.689.

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27

Liu, Min, Feng Gong, and Wenjing Song. "Like the new and hate the old: The impact of fiscal decentralization on regional development strategy." PLOS ONE 17, no. 9 (September 9, 2022): e0273875. http://dx.doi.org/10.1371/journal.pone.0273875.

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This paper evaluates the impact of China’s fiscal decentralization reform, namely the “Province-Managing-County” (PMC) fiscal reform, on local governments’ regional development strategy using county-level data in China covering 2000 to 2013. Surprisingly, after implementing the PMC fiscal reform, local governments will adjust their strategy of supporting zombie firms and attracting new firms, indicating that fiscal decentralization has changed the regional development strategies of local governments. We perform a difference-in-differences (DID) analysis and find that the PMC fiscal reform materially induces an average rise of 0.131 in newly added firms, an average decline of 0.383 in zombie firms, and no significant change in other firms. There is a pronounced substitution effect between zombie firms and newly added firms. We also find evidence supporting this argument: the government’s subsidy, tax treatment, and financial support. Our study provides empirical evidence that local governments’ regional development strategies can be affected by fiscal decentralization.

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Martens, Emiel. "The 1930s Horror Adventure Film on Location in Jamaica: ‘Jungle Gods’, ‘Voodoo Drums’ and ‘Mumbo Jumbo’ in the ‘Secret Places of Paradise Island’." Humanities 10, no. 2 (March 29, 2021): 62. http://dx.doi.org/10.3390/h10020062.

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In this article, I consider the representation of African-Caribbean religions in the early horror adventure film from a postcolonial perspective. I do so by zooming in on Ouanga (1935), Obeah (1935), and Devil’s Daughter (1939), three low-budget horror productions filmed on location in Jamaica during the 1930s (and the only films shot on the island throughout that decade). First, I discuss the emergence of depictions of African-Caribbean religious practices of voodoo and obeah in popular Euro-American literature, and show how the zombie figure entered Euro-American empire cinema in the 1930s as a colonial expression of tropical savagery and jungle terror. Then, combining historical newspaper research with content analyses of these films, I present my exploration into the three low-budget horror films in two parts. The first part contains a discussion of Ouanga, the first sound film ever made in Jamaica and allegedly the first zombie film ever shot on location in the Caribbean. In this early horror adventure, which was made in the final year of the U.S. occupation of Haiti, zombies were portrayed as products of evil supernatural powers to be oppressed by colonial rule. In the second part, I review Obeah and The Devil’s Daughter, two horror adventure movies that merely portrayed African-Caribbean religion as primitive superstition. While Obeah was disturbingly set on a tropical island in the South Seas infested by voodoo practices and native cannibals, The Devil’s Daughter was authorized by the British Board of Censors to show black populations in Jamaica and elsewhere in the colonial world that African-Caribbean religions were both fraudulent and dangerous. Taking into account both the production and content of these movies, I show that these 1930s horror adventure films shot on location in Jamaica were rooted in a long colonial tradition of demonizing and terrorizing African-Caribbean religions—a tradition that lasts until today.

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Garrett, Katie. "The Evolution of Modern Zombie Comedies." Digital Literature Review 5 (January 15, 2018): 99–107. http://dx.doi.org/10.33043/dlr.5.0.99-107.

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Zombie comedies are a subgenre of a subgenre in the horror film industry, and their prevalence in recent film and television history is unprecedented. This essay explores the beginnings of zombie comedy movies, their evolution throughout the past decade, and the implications of this genre’s new relevance and its politics. Included is an examination of a more recent Netflix Original television show, Santa Clarita Diet.

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Tan, Yuyan, Yiping Huang, and Wing Thye Woo. "Zombie Firms and the Crowding-Out of Private Investment in China." Asian Economic Papers 15, no. 3 (October 2016): 32–55. http://dx.doi.org/10.1162/asep_a_00474.

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From a data set of Chinese firms in the 2005–07 period, we find that government investment boosted the performance of zombie firms and crowded out the growth of private firms; we also found that the higher the concentration of state banks (and of state-owned enterprises), the more conducive is the environment for nurturing zombie firms. With the exit of zombie firms, (a) the industrial output growth rate would be higher by 2.12 percentage points, (b) the capital accumulation rate would be higher by 1.4 percentage points, (c) the employment growth rate would be higher by 0.84 percentage points, and (d) the rate total factor productivity growth would be higher by 1.06 percentage points. Our results support a radical change in the way that government investment has been carried out, and support comprehensive reform of the state sector, but they do not necessarily argue against government investment in large infrastructure projects and strategically-critical areas.

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Patria, Mikael Satya arka. "WARNA SEBAGAI PEMBENTUK SUASANA SERAM PADA FILM ANIMASI: SCOOBY-DOO ON ZOMBIE ISLAND." TUTURRUPA 4, no. 1 (November 23, 2022): 1–14. http://dx.doi.org/10.24167/tuturrupa.v4i1.3171.

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Color is present as a crucial component in its application to the branch of visual communication design as one of the elements forming a visual work. One of the visual works that in the process depends on using the coloring method is an animated film. Scooby-Doo on Zombie Island, an animated film released in 1998, was loved by audiences because it had a spooky feel that resulted from the application and color selection for each scene. But the reboot is Scooby-Doo! Return to Zombie Island drew negative responses from audiences. This triggered the phenomenon of the audience's comparison of the two films. There are changes and shifts in the atmosphere given to the reboot film. This research will discuss the application of colors that create a scary atmosphere in the animated film: Scooby-Doo on Zombie Island so that it is more popular than the reboot. As well as the role of color in communicating the meaning, message, and atmosphere that is formed for the audience.

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Cayuela Cánovas, Marta Beatriz. "Transmutaciones del zombi: del vudú haitiano a fenómeno transnacional." Atlántida Revista Canaria de Ciencias Sociales, no. 13 (2022): 155–73. http://dx.doi.org/10.25145/j.atlantid.2022.13.08.

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Today, the figure of the zombie is widely known in most cultures. However, the image that is popularized in The Western world does not correspond to the original concept of the zombie, derived from Haitian voodoo and African religious beliefs. The aim of this work is to examine the reasons why this figure underwent a transformation when it came into contact with The West. To do this, the historical and cultural context in which it arises, the concept of the zombie in its African and Haitian roots, its popularization in The Western culture through literature and film will be investigated, until addressing the configuration of the new Western zombie archetype, which maintains only the concept of the undead- as well as its multiple interpretations and its role in transnational mass culture.

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Filho, Lúcio Reis. "Live and Let Die…" Extrapolation: Volume 63, Issue 1 63, no. 1 (April 1, 2022): 21–34. http://dx.doi.org/10.3828/extr.2022.4.

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Many horror film tropes converged with the COVID-19 global health emergency. News media coverage of the pandemic has daily evoked several tropes of one horror film subgenre in particular—zombie films—such as unexplainable disease, lab-leak conspiracies, the silence or denial of authorities, political disarticulation, the buzz of the media, increasing mortality rates, the collapse of healthcare systems, and urban landscapes as eerily empty spaces. Arguably, the undead character at the heart of zombie films provides a critique of late capitalism, and of the social issues that we have seen highlighted by the COVID-19 pandemic, such as the stigma of the infected, the deepening of social inequalities, and the challenges of quarantine and the segregation inherent to it. In this paper, we intend to analyze the zombie film subgenre in the light of three leading concepts: Mary Douglas’s archetype of dirt, Byung-Chul Han’s immunological paradigm, and Achille Mbembe’s notion of necropolitics, the latter being related to the ultimate expression of sovereignty—the power and the ability to decide who lives and who may die.

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Sarakaeva, Elina A. "Zombies in the German-Speaking Space. Review of the Collective Monograph “The Undead – Zombie Film Theory” Edited by M. Fürst, F. Krautkrämer and S. Wiemer." Corpus Mundi 2, no. 4 (December 27, 2021): 143–51. http://dx.doi.org/10.46539/cmj.v2i4.56.

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This article reviews a collection of scholarly works edited by Michael Fürst, Florian Krautkrämer, and Serjoscha Wiemer “The Undead - Zombie Film Theory” (original title “Untot – Zombie Film Theorie”), Munich, Belleville Publishers, 2010, 301 pages, ISBN 978-3-933510-55-6. The reviewer lists the main ideas discussed by the researchers who have contributed to the monograph, briefly summarizes the content and evaluates the scientific significance of the analyzed edition. Three representative essays of the monograph (by W. Fuhrmann, A. Grilli and M. Benecke) receive a closer inspection, as they demonstrate the scope of ideas and methodological approach characteristic of the volume.

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Chao, Songlei, Lin Guo, and Shujun Sun. "Zombie problem: Normal firms’ wastewater pollution." Journal of Cleaner Production 330 (January 2022): 129893. http://dx.doi.org/10.1016/j.jclepro.2021.129893.

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Wang, Kai, and Nan Li. "ANALYSIS OF HONG KONG ZOMBIE MOVIES AUDIOVISUAL LANGUAGE IN THE 1980S." International Journal of Law, Government and Communication 7, no. 29 (September 1, 2022): 18–26. http://dx.doi.org/10.35631/ijlgc.729002.

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As a subcultural type of genre film, Hong Kong zombie films play an important role in Hong Kong films. Hong Kong zombie films through visual languages such as color, light, lens, and auditory language such as language, music, and audio create a horror atmosphere and infect the emotions of the audience. The use of audiovisual language also implies the ideological representation of the collision between China and the West in Hong Kong in the 1980s.

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Zoller-Rydzek, Benedikt, and Florian Keller. "COVID-19: guaranteed Loans and Zombie Firms." CESifo Economic Studies 66, no. 4 (December 2020): 322–64. http://dx.doi.org/10.1093/cesifo/ifaa014.

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Abstract Based on a survey (7–13 April 2020) we evaluate the reaction of Swiss firms towards the COVID-19 crisis. Firms show little pro-active reactions towards the crisis, but decrease their business activities. The firms in the survey report that the decline in foreign demand is the single most important reason for their deteriorating business situation. Firms that faced a more difficult business situation before the crisis are affected more severely during the crisis. Moreover, we investigate the impact of the Swiss federal loan program (Bundeshilfe) on the business activities. To this end, we develop a stylized theoretical model of financially constrained heterogeneous firms. We find that policy makers face a trade-off between immediate higher unemployment rates and long-term higher public spending. The former arises from a combination of a too strong economic impact of the COVID-19 lockdown (demand drop) and too low levels of loans provided. Nevertheless, providing (too) high levels of loans to firms creates zombie firms that are going to default in the future leading to an increase in public spending. (JEL codes: D22, D25, D84, and G33)

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Becker, Bo, and Victoria Ivashina. "Weak Corporate Insolvency Rules: The Missing Driver of Zombie Lending." AEA Papers and Proceedings 112 (May 1, 2022): 516–20. http://dx.doi.org/10.1257/pandp.20221078.

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“Zombie lending”--lending to less-productive firms at subsidized rates--can help banks with misaligned incentives in the short run, but it prolongs economic downturns. We propose that inefficient resolution of insolvency is a significant contributor to this problem. We exploit variation in the efficiency of insolvency across countries to show that lack of formal bankruptcies, cheap (zombie) credit, and stickiness of existing creditors is more common in bad economic periods when insolvency works less well.

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Walter, Shannon. "Zombies Say More Than "Uungh": A Walker's Social Commentary." Digital Literature Review 4 (January 13, 2017): 166–76. http://dx.doi.org/10.33043/dlr.4.0.166-176.

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The spike in zombie cinema in recent years is thought to be due to the fact that cultural and social anxieties are on the rise. This paper explores how zombie film and television comments on these anxieties and forces its audience to think about the world around them. It specifically focuses on The Walking Dead and how this famous television show utilizes villains and villainous behaviors to comment on our current, violent, and desensitized state of society.

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Mandic, Marina. "Viral apocalypse: Discourses of spreading and stopping epidemic through the example of zombie film narrative." Bulletin de l'Institut etnographique 69, no. 3 (2021): 675–87. http://dx.doi.org/10.2298/gei2103675m.

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Based on the point of view that popular culture performs metaphorical narration of the contemporary society, this paper analyses the ways in which elements of zombie film narratives are used as a representation of infectious diseases, that is, representation of the social and institutional discourses associated with the occurrence, spreading and stopping of epidemics. The narratives of zombie films feature social anxieties regarding infectious agents through the discourse of epidemiological apocalypse, due to occurrence of an incurable virus, whose development results in the potential ending of the civilization.

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Fukuda, Shin-ichi, and Jun-ichi Nakamura. "Why Did ‘Zombie’ Firms Recover in Japan?" World Economy 34, no. 7 (July 2011): 1124–37. http://dx.doi.org/10.1111/j.1467-9701.2011.01368.x.

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Ahearne, Alan G., and Naoki Shinada. "Zombie firms and economic stagnation in Japan." International Economics and Economic Policy 2, no. 4 (November 29, 2005): 363–81. http://dx.doi.org/10.1007/s10368-005-0041-1.

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Loman, Nick, and Jennifer Gardy. "Contagion: a worthy entrant in the outbreak film genre." Biochemist 37, no. 6 (December 1, 2015): 22–25. http://dx.doi.org/10.1042/bio03706022.

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As researchers working in the fields of genomics, infection and epidemiology, we chose to write about Contagion for this issue. It wasn't much of a choice, a quick bit of Internet research confirmed that there aren't many films about infectious diseases, outbreaks and epidemiology, with the exception of the fairly terrible Outbreak (1995), and the 1970s-tastic sci-fi thriller The Andromeda Strain. What we do have plenty of are zombie flicks, and the parallels to outbreaks have been well recognized. Often starting with a virus or uncharacterized pathogen, zombie films exploit the nature of contagion as ever greater numbers of the population are infected, usually with the film's heroic (World War Z) or hapless (Shaun of the Dead) protagonist tasked with rescuing humanity, or at least staying alive.

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Der Derian, James, and Phillip Gara. "Life, Death, and the Living Dead in the Time of COVID-19." Cultural Politics 17, no. 1 (March 1, 2021): 102–13. http://dx.doi.org/10.1215/17432197-8797585.

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Abstract Is COVID-19 our first global zombie event? The question leads to others that fall outside the decorum of official discourse, possibly because the answers reach beyond the pale of the state. Unable to understand the nature of the threat, national leaders failed early and caught on late to the need for a globally coordinated response. Coupled with a deep resistance by states to the alienation of any degree of sovereignty to international institutions, the prospect of a global solution to the zombie question remains elusive. This essay offers an interpandemic response to the novel coronavirus that cuts across borders and against the grain. The first is transnational, to identify from the parallax view of Sydney and Los Angeles emergent risks that defy single-state fixes. The second is transhistorical, to counter efforts by China and the United States to subsume a human security crisis into the narrative of an eternal Cold War. The third is transmedial, to acquire new political and cultural perspectives on the pandemic through the zombie cinematic genre, including our documentary film, Project Z: The Final Global Event. A zombie inquiry can help us understand how COVID-19 is both disease and potential cure of late and rising empires.

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Thibodeau, Olivier. "Des pièces de go sur l’échiquier : Vitesse(s) et mouvement(s) révolutionnaire(s) dans le film de zombies contemporain." Caietele Echinox 38 (June 30, 2020): 118–28. http://dx.doi.org/10.24193/cechinox.2020.38.09.

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The zombie as metaphor for the mindless consumer of late capitalism, popularized by George Romero’s seminal masterpiece, Dawn of the Dead, has grown stale as a critical model for globalized capitalism in light of its power not to embrace, but to disrupt the dromocratic order in which capitalism is rooted. If it is fair to assimilate the zombie mass to the proletarian class freed from the shackles of “productive” labor, it is of greater importance today to address its freedom from the whole kinetic organization of life under capitalist state rule.

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Feng, Ling, Henan Lang, and Tingting Pei. "Zombie firms and corporate savings: Evidence from Chinese manufacturing firms." International Review of Economics & Finance 79 (May 2022): 551–64. http://dx.doi.org/10.1016/j.iref.2022.02.008.

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Lee, Sang－Ho, and Ji－Yeon Ryu. "The Effect of Zombie Leverage at Low Costs on the Productivity of Non－Zombie Firms." Review of Accounting and Policy Studies 26, no. 2 (May 31, 2021): 125–56. http://dx.doi.org/10.21737/raps.2021.05.26.2.125.

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Geng, Yong, Wei Liu, and Yuzhao Wu. "How do zombie firms affect China’s industrial upgrading?" Economic Modelling 97 (April 2021): 79–94. http://dx.doi.org/10.1016/j.econmod.2021.01.010.

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Shen, Guangjun, and Binkai Chen. "Zombie firms and over-capacity in Chinese manufacturing." China Economic Review 44 (July 2017): 327–42. http://dx.doi.org/10.1016/j.chieco.2017.05.008.

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MacLeod, George. "Brain Drain: Rural Poverty and the Quebecois Zombie Film." Contemporary French and Francophone Studies 25, no. 1 (January 1, 2021): 106–15. http://dx.doi.org/10.1080/17409292.2021.1865060.

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