zombies represent capitalists, and "cannibalism represents the ultimate in possessiveness, hence the logical end of human relations under capitalism". He argues that the zombies' victims symbolized the repression of "the Other" in bourgeois American society, namely activists in the civil rights movement, feminists, homosexuals, and counterculturalists in general. Post-production Members of Image Ten were involved in filming and post-production, participating in loading camera magazines, gaffing, constructing props, recording sounds and editing. Production stills were shot and printed by Karl Hardman, who stated in an interview that a "number of cast members formed a production line in the darkroom for developing, washing and drying of the prints as I made the exposures. As I recall, I shot over 1,250 pictures during the production". Upon completion of post-production, Image Ten found it difficult to secure a distributor willing to show the film with the gruesome scenes intact. Columbia and American International Pictures declined after requests to soften it and re-shoot the final scene were rejected by producers. Romero admitted that "none of us wanted to do that. We couldn't imagine a happy ending. . . . Everyone want[ed] a Hollywood ending, but we stuck to our guns". The Manhattan-based Walter Reade Organization agreed to show the film uncensored, but changed the title from Night of the Flesh Eaters to Night of the Living Dead because a film had already been produced under a similar title to the former. While changing the title, the copyright notice was accidentally deleted from the early releases of the film. The opening title music with the car on the road had been used in a 1961 episode of the TV series Ben Casey entitled "I Remember a Lemon Tree" and is also featured in an episode of Naked City entitled "Bullets Cost Too Much". Most of the music in the film had previously been used on the soundtrack for the science-fiction B-movie Teenagers from Outer Space (1959), as well as several pieces used in the classic Steve McQueen western series Wanted Dead or Alive (1958–61). The musical piece during the scene in the film where Ben finds the rifle in the closet inside the farmhouse as the radio reports of mayhem play in the background can be heard in longer and more complete form during the opening credits and the beginning of The Devil's Messenger (1961) starring Lon Chaney, Jr. Another piece, accompanying Barbra's flight from the