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In L. A Zombie, LaBruce portrays Sagat being an anti-hero. Zombie-make-up (Fig. 4) and a prosthetic penis offer to dehumanise their character,

Making him nearly comical. This humour and satire offer to disconnect the viewers through the violence that is sexual commits – the gory rape of this dead. He showers them in their ejaculate to bring them back once again to life and now we are bizarrely motivated to locate their vulnerability that is emotional endearing he just raped to assist his search for companionship. In so doing, LaBruce invokes the notion of necessary rape, hence doubting the perpetrator’s accountability.

The final item used as a weapon is the black ejaculate alongside the phallus and rape. Gay pornography profits through the attraction of bareback porn: the spectacle of systems offering into carnality, sin and also the threat of contagion (HIV), realising a lack of control entailed in the connection with orgasm (Dean, 2009: 106). The demonic nature of Sagat’s monstrous ‘fucking’ connotes the terror of HIV exposure additionally the Tops’ capacity to utilize this to terrorise in a uniquely masculine and insertive way. Embodying gay-impurity, gay-evil and gay-death, Sagat’s zombie character leads us to finally talk about death and sex.

III. Death and sex

This area explores the way the male homosexual is figured as somebody defined by death:

Either as someone characterised by the want to perish, or one whoever desire is inherently punishable by death (Puar, 2006: 67; Butler, 1993: 83). This death is strongly conflated together with his race and sexuality. We explore the ascendancy of some queer-subjects contrary to the disposability, death and abandonment of other people.


Considering the fact that gay-identity is something constructed in reaction up to a culture that is hetero-hegemonic we get to Gilreath’s assertion that under normative society’s eyes, “to-be-gay-is-to-be-sex” (2011: 170).