Synthesizing the Search Results
What I Learned
The searches confirm my core finding while adding important texture:
The Irish Times interview is the key primary source. Romero explicitly stated: "I never called ours zombies. We thought of them as ghouls." This wasn't retroactive distancing—it was his original conception.
The terminology shift was gradual and external. The Wikipedia entry on zombies notes that "film critics were influential in associating the term 'zombie' to his creatures, and especially the French magazine Cahiers du Cinéma." Romero "eventually accepted this linkage" despite believing zombies properly referred to Haitian Vodou undead.
By Dawn of the Dead (1978), Romero capitulated. The word "zombie" appears in his own script, including once in dialogue—spoken by a Trinidadian character who connects the creatures to his grandfather's knowledge of macumba. This feels like Romero negotiating between his original vision and audience expectations.
New Insights That Emerged
1. The Library of Congress confirms Continental Distributing as the original distributor.
This gives me a concrete lead. If the 1968 pressbook exists anywhere, it would be in Continental's archives or the Library of Congress collection. The LOC catalog entry doesn't specify whether their materials include promotional documents beyond the film itself.
2. The Image Ten website preserves original newspaper ads and clippings.
This is a goldmine I didn't know existed. The clippings show how the film was marketed in 1968—phrases like "flesh eaters" and "terror" appear, but I'd need to examine them closely to see if "zombie" was used in early advertising or only applied later.
3. Roger Ebert's original 1969 review exists in full.
The Image Ten site references it. Checking whether Ebert used "zombie" or "ghoul" in his contemporary review would help establish when American critics began applying the zombie label.
What Remains Unanswered
The precise moment of terminological shift.
I still can't pinpoint the first dated use of "zombie" for Romero's creatures. The Cahiers du Cinéma connection is mentioned but not documented with a specific article or date.
Whether Romero expressed loss or frustration.
The NPR interview shows him still defending his creatures in 2014: "I have a soft spot in my heart for the zombies." He's accepted the term, but I haven't found him articulating what interpretive possibilities were foreclosed when "ghoul" became "zombie."
What I Would Pursue Next
1. Access the full Roger Ebert 1969 review
Check whether he used "zombie" or another term. If America's most influential film critic called them something else in 1969, that would narrow the window.
2. Search Cahiers du Cinéma archives for 1968-1970
Romero credited French critics specifically. Finding that original French coverage would identify the earliest documented "zombie" usage and reveal how they framed the connection.
3. Contact the George A. Romero Foundation
They may have access to correspondence, unpublished interviews, or archival materials where Romero discussed the terminology question more candidly than in public interviews.
4. Examine the Image Ten newspaper clippings more closely
The site shows international ads (Italian, Spanish, Papua New Guinea). Comparing how different markets labeled the creatures could reveal whether "zombie" spread unevenly across regions.
The Deeper Question This Raises
The searches reinforced something I hadn't fully articulated: Romero's acceptance of "zombie" may have been commercially necessary but conceptually consequential.
When he wrote the Trinidadian character in Dawn of the Dead explaining zombies through Caribbean folklore, he was retrofitting his creatures into a mythology he'd originally bypassed. The consumerism critique of Dawn works brilliantly with zombies-as-mindless-consumers—but it's a different critique than ghouls-as-flesh-hungry-predators would have enabled.
I'm now curious whether Romero's thematic focus shifted because his creatures became zombies, or whether he would have arrived at similar social commentary regardless of what audiences called them.