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Horror Noire
Free Ebook Horror Noire
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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 from 1890's 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 more negative, or racist, images seen in other media outlets, and to portray greater diversity within the concept of blackness itself. Horror 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 race. Offering 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 U.S./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.
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Product details
Paperback: 296 pages
Publisher: Routledge (June 22, 2011)
Language: English
ISBN-10: 0415880203
ISBN-13: 978-0415880206
Product Dimensions:
6 x 0.7 x 9 inches
Shipping Weight: 14.4 ounces (View shipping rates and policies)
Average Customer Review:
4.6 out of 5 stars
3 customer reviews
Amazon Best Sellers Rank:
#169,863 in Books (See Top 100 in Books)
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I love this book. As a media scholar I teach students about trends in media content, mostly through empirical content analyses that document numerical changes in different types of content (e.g., violence, etc.). When students ask about broader, historical trends in what types of content are popular when and why, with the desire to know what they might be tapping into in the American psyche, I come up empty-handed. Empirical content analyses only go so far. Coleman's book on Blacks in horror films since the 1890s is a prime example of critical cultural studies work that uses strong argumentation and evidence to make a case for how movies have presented Black characters and Black caricatures in ways that reflect the anxieties of the time. For instance, I was unaware that there were a slew of films similar to King Kong around the time of its release and that they were all popular during a period of post-emancipation anxiety for White people afraid of what (and whom) Black people (and men in particular) might try to claim for themselves. The giant ape's most frightening action -- stealing a White woman from her apartment -- seems almost comically racist after reading Coleman's analysis. Coleman maps these themes onto the times in a fluid, persuasive analysis through the decades. Her outstanding analysis of George Romero's Night of the Living Dead and the meaning of its ending is not to be missed. The theme of Black Americans in horror seems narrow in scope only until you start reading this book. You finish it realizing that we are still living in an age of post-emancipation anxiety (and immigration anxiety) and that this anxiety is projected upon Black bodies in film in a way that varies thematically with the dominant fears of the time. Overall, this book is an excellent example of qualitative research that connects trends in group portrayals with salient historical events.
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 a more thorough 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 use more often. But fair warning - expect it to treble your Netflix queue.
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