Horror Noire: Blacks in American Horror Films from the

Horror Noire: Blacks in American Horror Films from the 1890s to Present From King Kong to Candyman, the boundary pushing genre of the horror film has always been a site for provocative explorations of race in American popular culture In Horror Noire Blacks in American Horror Films froms to Present, Robin R Means Coleman traces the history of notable characterizations of blackness in horror cinema, and examines key levels of black participation on screen and behind the camera She argues that horror offers a representational space for black people to challenge the negative, or racist, images seen in other media outlets, and to portray greater diversity within the concept of blackness itselfHorror Noire presents a unique social history of blacks in America through changing images in horror films Throughout the text, the reader is encouraged to unpack the genre s racialized imagery, as well as the narratives that make up popular culture s commentary on raceOffering a comprehensive chronological survey of the genre, this book addresses a full range of black horror films, including mainstream Hollywood fare, as well as art house films, Blaxploitation films, direct to DVD films, and the emerging US hip hop culture inspired Nigerian Nollywood Black horror films Horror Noire is, thus, essential reading for anyone seeking to understand how fears and anxieties about race and race relations are made manifest, and often challenged, on the silver screen Horror Noire come ou como uma pesquisa acad mica da Dra Robin R Means Coleman e acabou dando origem a um livro e um document rio que explora a representa o negra no cinema de terror desde o seu nascimento, no fim do s culo XIX at os anos 2000 O livro foi publicado no Brasil pela editora DarkSide Books que nos cedeu um exemplar para a resenha.Assim que a DarkSide Books anunciou Horror Noire eu fiquei louca para ler Gosto muito de filmes de terror e analisar a representa o das minorias em Horror Noire come ou como uma pesquisa acad mica da Dra Robin R Means Coleman e acabou dando origem a um livro e um document rio que explora a representa o negra no cinema de terror desde o seu nascimento, no fim do s culo XIX at os anos 2000 O livro foi publicado no Brasil pela editora DarkSide Books que nos cedeu um exemplar para a resenha.Assim que a DarkSide Books anunciou Horror Noire eu fiquei louca para ler Gosto muito de filmes de terror e analisar a representa o das minorias em todas as m dias algo que dou muito valor importante compreender o passado para que possamos mudar o futuro, certo No come o fiquei um pouco apreensiva, com medo de estar um pouco enferrujada e me embananar na narrativa Pensei que, por ter come ado como uma pesquisa acad mica, eu teria alguma dificuldade para embalar a leitura.Mas n o foi nada disso A narrativa muito f cil e Dra Robin R Means Coleman comp s seus argumentos e an lises de forma muito clara e bem definida Ela nos deu a base e o contexto para cada um deles e guiou nos por todo o caminho com muita paci ncia.O livro dividido em d cadas, e cada cap tulo analise os filmes de terror que sa ram naqueles anos e como retrataram os negros na tela De express es racistas com o uso de Black Face e a cria o e fortalecimento do negro selvagem como um perigo a branquitude, at os filmes influenciados pelo movimento dos direitos civis, que buscavam o empoderamento negro, Horror Noire tra a um perfil do espa o relegado aos negros no cinema de terror.E foi uma leitura para l de interessante muito comum escutar que o politicamente correto estraga o entretenimento No entanto, em Horror Noire, f cil perceber como o entretenimento foi e ainda um for a poderosa que pode tanto manter e apoiar opress es, como libertar.Ao explicar o nascimento da representa o negra no cinema, Robin R Means Coleman mostra como os estere tipos pregados n o eram exclusivos do nicho terror e como persistiram mesmo em d cadas onde movimentos pelos direitos civis eram fortes e at mesmo ap s o fim da segrega o racial Uma poca em que, tecnicamente, esperava se uma revolu o na forma de tratar ra a em todos os meios e c rculos.Dos mais persistentes, podemos ver o negro como al vio c mico, extremamente medroso e cr dulo, como um servi al leal ao protagonista branco e, ainda, com sua representa o sujeita ao blackface que hoje em dia se esconder por detr s de uma ideia de homenagem , ignorando a origem racista da pr tica.Horror Noire tamb m nos apresenta narrativas completamente negras, em especial durante os anos 70, que buscavam empoderar negros e criar representa es positivas mas que nem sempre estavam livres de problemas, especialmente no que se referia a representa o negra feminina, por exemplo.Obras que buscavam eliminar a representa o do homem negro como uma amea a aos brancos em especial as mulheres brancas e a ideia do negro selvagem Mas que, em contrapartida, criaram ideias t xicas a cerca da masculinidade negras.No entanto, um dos pontos que mais me chamou a aten o foi perceber que pouqu ssimos filmes conseguiram colocar pessoas negras como personagens bem desenvolvidos e interessantes, onde a cor de sua pele n o os resignava automaticamente a um min sculo papel secund rio, servo leal medroso ou v tima n mero um.Uma dificuldade ainda maior com a chegada dos blockbusters, que acabaram com os cinemas de bairro e minaram as produ es independentes onde grande parte das obras completamente negras eram produzidas E isso levando em considera o cem anos de filmes de terror.O que s prova a necessidade de, cada vez mais, apoiar artistas que produzam obras que quebrem estere tipos, invertam pap is e busquem respeito para comunidades marginalizadas por s culos.Horror Noire a representa o negra no cinema de terror foi, definitivamente, uma das minhas melhores leituras do ano e vou recomendar para todo mundo Independente de como voc se sente em rela o ao cinema de terror ou cinema no geral um baita exerc cio para o pensamento cr tico e o impacto do entretenimento no sistema social e na nossa forma o pessoal This is a fascinating book, very clever and full of observations that cast a whole new light on many of the best horror movies Coleman is the kind of horror viewer who makes the whole genre better for her participation. robin r means coleman thankfully doesn t do dense theory like, say, carol j clover but she does offer a lot to feminist friendly horror criticism history this is a fantastic overview of black ppl in horror and she brings two important ideas to the table blacks in horror vs black horror and her Black Enduring Woman, which is a sister in theory to clover s tired Final Girl.one thing that bummed me out a little, for entirely personal preferential reasons, is that while she spent a lot of ti robin r means coleman thankfully doesn t do dense theory like, say, carol j clover but she does offer a lot to feminist friendly horror criticism history this is a fantastic overview of black ppl in horror and she brings two important ideas to the table blacks in horror vs black horror and her Black Enduring Woman, which is a sister in theory to clover s tired Final Girl.one thing that bummed me out a little, for entirely personal preferential reasons, is that while she spent a lot of time addressing wes craven s contributions to black horror blacks in horror the people under the stairs, the serpent and the rainbow, vampire in brooklyn she never talked about the opening to scream 2 where phil stevens omar epps and maureen evans jada pinkett smith talk the role of blacks in mainstream horror waiting in line to see an entry into scream s meta stab series, shortly before they are brutally murdered this doesn t take away from the book at all, it s just something i would have liked to see I know it s hard to shove every horror movie in this book but I would ve loved a discussion on 2004 s Dawn of the Dead starring Ving Rhames, or a note on Return of the Living Dead 3 which quite possibly has one of the most egregious examples of a magical negro character But, overall this was a thorough and fantastic read shame it was written just slightly too early and couldn t include Jordan Peeles horror rennaissence with Get Out but alas, that s hat the Shudder doc is for. This is a must for horror fans While it was written in 2011 so it s not as up to date as it could be, it traces, analyzes, and explores the role of Black people in American horror films from the 1890s to the early 21st century From BIRTH OF A NATION to KING KONG to WHITE ZOMBIE to NIGHT OF THE LIVING DEAD to CANDYMAN, Coleman goes in depth as he slowly deconstructs how Black people have functioned in horror films as time has gone on, and how the Black film community has made responses to the w This is a must for horror fans While it was written in 2011 so it s not as up to date as it could be, it traces, analyzes, and explores the role of Black people in American horror films from the 1890s to the early 21st century From BIRTH OF A NATION to KING KONG to WHITE ZOMBIE to NIGHT OF THE LIVING DEAD to CANDYMAN, Coleman goes in depth as he slowly deconstructs how Black people have functioned in horror films as time has gone on, and how the Black film community has made responses to the white dominated genre I d be VERY curious to see an update of this with analyses on GET OUT and the upcoming US Important history and information that all horror fans should read up on I liked the analysis, but too much of the text was dominated by film synopses. HORROR BOOK. Coleman s Horror Noire offers a fascinating exploration of race in American culture through an examination of the roles Blacks played in front of and behind the camera in horror films from the 1890s through the late 2000s Coleman, who s a professor in both the department of Communication Studies and Afroamerican and African Studies at University of Michigan Ann Arbor, spends time upfront drawing the distinction between Black horror films and Blacks in horror films the former having a narrative Coleman s Horror Noire offers a fascinating exploration of race in American culture through an examination of the roles Blacks played in front of and behind the camera in horror films from the 1890s through the late 2000s Coleman, who s a professor in both the department of Communication Studies and Afroamerican and African Studies at University of Michigan Ann Arbor, spends time upfront drawing the distinction between Black horror films and Blacks in horror films the former having a narrative focus that calls attention to racial identity, the latter being just what it sounds like , then does a brief overview of everything pre 1930s before launching into athorough and thematic decade by decade examination Her writing as she offers a mix of history, biography, filmography, and analysis is straightforward and lucid, avoiding the worse of academese except in quotes she s pulled from other works.The only issue I really had with Horror Noire was the author s very broad definition of what constituted horror While it s true that one woman s bedtime story is another woman s tale of creeping horror I m lookin at you, Prince Too Charming To Worry About Consent and that genre definitions are fluid, some of the films included, particularly the religious ones featured in the section on the 1940s, didn t fit the bill for me Other than that, my only other disappointment was that Coleman didn t make use of what seemed like the world s most obvious jumping off point, the opening scenes of Scream 2 where Jada Pinkett Smith and Omar Epps amid other deconstructions debate the role of blacks in horror movies But then, maybe it was too obvious Aside from those minor quibbles, Horror Noire is an educational and entertaining look at an under examined genre through a cultural lens we should useoften But fair warning expect it to treble your Netflix queue Nobody needs to me to tell them that this book is great, but it is Read it


About the Author: Robin R. Means Coleman

Is a well known author, some of his books are a fascination for readers like in the Horror Noire: Blacks in American Horror Films from the 1890s to Present book, this is one of the most wanted Robin R Means Coleman author readers around the world.


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