Like the ancient text On The Sublime, Night of the Living Dead has withstood the test of time. The connection between a 1968 zombie film and a first-century CE text may not be evident at first glance, but through close examination director George A. Romero's Night of the Living Dead upholds many of Longinus' criteria listed in On The Sublime.

First-century writer Longinus aggrandizes certain characteristics told in the twentieth-century film. His need for universality is found in Romero's examination of human nature. This film meets his desire for an artist to restrain and control his creation. The small scale of the story line helps control the possible snare of grandeur. In a suburban town outside of Pittsburgh, there are two life struggles taking place. The first is the endeavor to avoid flesh-eating zombies and the second is to survive in the house where strangers must band together for survival. The occupants of the house have already been slain, leaving a constant reminder of the reality of the danger. The true nature of the struggle emanates when strategies for survival are in question. The danger emigrate

s from the outside horror of the zombies to the internal feuding. An examination of human nature emerges. Together, On The Sublime and Night of the Living Dead, both directly and indirectly, illustrate sublime characteristics.

To the merit of the sublime, the true sublime, Longinus writes that it will uplift the soul. It fills the spectator with exaltation and a "sense of vaunting joy, just as though we had ourselves produced what we heard." Longinus' formula for the sublime is a meticulous selection of the subject and then equally important is the organization. The first attracts the observer and the second keeps the interest. Longinus writes of the importance to incorporate the senses. This involvement of the viewer is essential to the realization of the sublime; they must become invested. He also claims that it must stand repeated examination or it is not truly sublime. This cult classic has withstood the test of time by outliving innumerable motion pictures. Romero gives tribute to "the great writers and poets of the past" by creating a trilogy. Longinus believes that the imitation and emulation of great works is a way to lead to sublimity. Dawn of the Dead (1978) and Day of the Dead (1985) complete the threesome.

Longinus next tells of the importance of "amplification," the perpetual build up leading to the climax. This is an important property to fulfill, or the sublime will be brought up and then it will fall with nowhere else to go. He goes as far as saying that without the sublime in amplification, it is like "taking the soul out of the body." Romero's climax was gratifying, in that maintaining succession he brought the story to a zenith.

Two obstacles that are unavoidable in the medium of film are the pseudo-tragic and hollow emotions. Romero did his best to coach the actors in evoking a real sense of fear, but they are still acting. However, the emotions felt by the audience are real and sublime. The film is watched in the safety of ones environment, knowing there is no real danger.

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Approximate Word count = 1662
Approximate Pages = 7 (250 words per page double spaced)