counter Horror Noire: Blacks in American Horror Films from the 1890s to Present - Free Download Books
Hot Best Seller

Horror Noire: Blacks in American Horror Films from the 1890s to Present

Availability: Ready to download

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 part 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.


Compare

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 part 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.

30 review for Horror Noire: Blacks in American Horror Films from the 1890s to Present

  1. 5 out of 5

    Emily

    "Horror films come out of the imaginations of a diverse cadre of image-makers." The documentary Horror Noire was one of the best things I watched last year, and I was very excited to learn that it was based on a book. This book is very well-researched and informative, and I learned about a lot of movies that I haven't seen. I think the documentary and book are really good companions - the book goes a little more in-depth into the synopses, but getting to see people's faces while they talk about m "Horror films come out of the imaginations of a diverse cadre of image-makers." The documentary Horror Noire was one of the best things I watched last year, and I was very excited to learn that it was based on a book. This book is very well-researched and informative, and I learned about a lot of movies that I haven't seen. I think the documentary and book are really good companions - the book goes a little more in-depth into the synopses, but getting to see people's faces while they talk about movies and characters adds a whole extra layer. I'm glad I was finally able to read this book! In case you're interested in reading it, I was able to rent a copy of the e-book for my Kindle.

  2. 4 out of 5

    Jennifer

    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 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.

  3. 4 out of 5

    Tati Lopatiuk

    Leitura bem interessante, dá pra aprender muito sobre o contexto de produção de muitos filmes desde a invenção do cinema e como eles se encaixam em questões sociais como racismo, homofobia e misoginia.

  4. 5 out of 5

    Tom Goulter

    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.

  5. 4 out of 5

    juicy brained intellectual

    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.

  6. 4 out of 5

    ElphaReads

    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.

  7. 5 out of 5

    Queria Estar Lendo

    Horror Noire começou como uma pesquisa acadêmica da Dra. Robin R. Means Coleman e acabou dando origem a um livro e um documentário que explora a representação negra no cinema de terror desde o seu nascimento, no fim do século XIX até 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 representação das minorias em Horror Noire começou como uma pesquisa acadêmica da Dra. Robin R. Means Coleman e acabou dando origem a um livro e um documentário que explora a representação negra no cinema de terror desde o seu nascimento, no fim do século XIX até 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 representação das minorias em todas as mídias é algo que dou muito valor - é importante compreender o passado para que possamos mudar o futuro, certo? No começo fiquei um pouco apreensiva, com medo de estar um pouco enferrujada e me embananar na narrativa. Pensei que, por ter começado como uma pesquisa acadêmica, eu teria alguma dificuldade para embalar a leitura. Mas não foi nada disso. A narrativa é muito fácil e Dra. Robin R. Means Coleman compôs seus argumentos e análises 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 paciência. O livro é dividido em décadas, e cada capítulo analise os filmes de terror que saíram naqueles anos e como retrataram os negros na tela. De expressões racistas com o uso de Black Face e a criação e fortalecimento do negro selvagem como um perigo a branquitude, até os filmes influenciados pelo movimento dos direitos civis, que buscavam o empoderamento negro, Horror Noire traça um perfil do espaço relegado aos negros no cinema de terror. E foi uma leitura para lá de interessante. É muito comum escutar que o "politicamente correto" "estraga" o entretenimento. No entanto, em Horror Noire, é fácil perceber como o entretenimento foi (e ainda é) um força poderosa que pode tanto manter e apoiar opressões, como libertar. Ao explicar o nascimento da representação negra no cinema, Robin R. Means Coleman mostra como os estereótipos pregados não eram exclusivos do nicho terror e como persistiram mesmo em décadas onde movimentos pelos direitos civis eram fortes - e até mesmo após o fim da segregação racial. Uma época em que, tecnicamente, esperava-se uma revolução na forma de tratar raça em todos os meios e círculos. Dos mais persistentes, podemos ver o negro como alívio cômico, extremamente medroso e crédulo, como um serviçal leal ao protagonista branco e, ainda, com sua representação sujeita ao blackface - que hoje em dia se esconder por detrás de uma ideia de "homenagem", ignorando a origem racista da prática. Horror Noire também nos apresenta narrativas completamente negras, em especial durante os anos 70, que buscavam empoderar negros e criar representações positivas - mas que nem sempre estavam livres de problemas, especialmente no que se referia a representação negra feminina, por exemplo. Obras que buscavam eliminar a representação do homem negro como uma ameaça aos brancos - em especial as mulheres brancas - e a ideia do negro selvagem. Mas que, em contrapartida, criaram ideias tóxicas a cerca da masculinidade negras. No entanto, um dos pontos que mais me chamou a atenção foi perceber que pouquíssimos filmes conseguiram colocar pessoas negras como personagens bem desenvolvidos e interessantes, onde a cor de sua pele não os resignava automaticamente a um minúsculo papel secundário, servo leal medroso ou vítima número um. Uma dificuldade ainda maior com a chegada dos blockbusters, que acabaram com os cinemas de bairro e minaram as produções independentes - onde grande parte das obras completamente negras eram produzidas. E isso levando em consideração cem anos de filmes de terror. O que só prova a necessidade de, cada vez mais, apoiar artistas que produzam obras que quebrem estereótipos, invertam papéis e busquem respeito para comunidades marginalizadas por séculos. Horror Noire: a representação negra no cinema de terror foi, definitivamente, uma das minhas melhores leituras do ano e vou recomendar para todo mundo! Independente de como você se sente em relação ao cinema de terror (ou cinema no geral) é um baita exercício para o pensamento crítico e o impacto do entretenimento no sistema social e na nossa formação pessoal.

  8. 5 out of 5

    Kristen

    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.) 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.)

  9. 5 out of 5

    Morgan

    Really interesting discussion of race and horror films. Made me rethink how I am discussing horror in my dissertation. Most of the films discussed were new to me--I really do not watch a lot of horror films LOL. However, I think I got more out of the documentary version/adaptation of the book, because the visuals really helped me understand some of what was described on the page.

  10. 4 out of 5

    Amy

    Coleman chronologically writes about blacks in horror films, differentiating between "Black Horror" and "Blacks in Horror." Some of the fims she speaks about, especially in the early centuries, may not qualify as horror in the traditional sense, but their depiction of racism is quite terrifying. Coleman chronologically writes about blacks in horror films, differentiating between "Black Horror" and "Blacks in Horror." Some of the fims she speaks about, especially in the early centuries, may not qualify as horror in the traditional sense, but their depiction of racism is quite terrifying.

  11. 4 out of 5

    Paul Wilson

    I liked the analysis, but too much of the text was dominated by film synopses.

  12. 5 out of 5

    Doris Raines

    HORROR BOOK .

  13. 4 out of 5

    Karen Kohoutek

    Nobody needs to me to tell them that this book is great, but it is. Read it!

  14. 4 out of 5

    Bigamama V

    Excellent start to learning about the beginnings of African Americans in Horror movies and Black Horror movies. A great companion to the documentary 'Horror Noire' on Shudder. Excellent start to learning about the beginnings of African Americans in Horror movies and Black Horror movies. A great companion to the documentary 'Horror Noire' on Shudder.

  15. 4 out of 5

    Isadora Torres

    brasileiros, leiam. já dizia et bilu: busquem conhecimento.

  16. 4 out of 5

    Shiane Jacocks

    Coleman made me feel like I was watching the films she described in not only the way that made me feel present but also in a way where I felt the history and the racism embedded in a lot of what we consider to be “great” films. I felt like Peele had read this and thought to himself, this is my new project, to make films where Blacks are at the center, no longer the jezebels, mammys, and candymans. I look forward to seeing the documentary. I’ll be at the edge of seat because this book is truly ho Coleman made me feel like I was watching the films she described in not only the way that made me feel present but also in a way where I felt the history and the racism embedded in a lot of what we consider to be “great” films. I felt like Peele had read this and thought to himself, this is my new project, to make films where Blacks are at the center, no longer the jezebels, mammys, and candymans. I look forward to seeing the documentary. I’ll be at the edge of seat because this book is truly horrifying.

  17. 4 out of 5

    Steve Wiggins

    A very good introduction to the experience of African-Americans in the horror movie genre. Sometimes an uncomfortable read, but well worth it. See a fuller review at Sects and Violence in the Ancient World. A very good introduction to the experience of African-Americans in the horror movie genre. Sometimes an uncomfortable read, but well worth it. See a fuller review at Sects and Violence in the Ancient World.

  18. 4 out of 5

    Julia Fischer

  19. 5 out of 5

    Marcos Hinke

  20. 4 out of 5

    Thaís

  21. 4 out of 5

    Kristen

  22. 4 out of 5

    Money Shaw

  23. 4 out of 5

    Anilaury Costa

  24. 5 out of 5

    Diversity Horror

  25. 4 out of 5

    Camilla

  26. 5 out of 5

    Olivia Sayah

  27. 4 out of 5

    Res

  28. 4 out of 5

    Leo Costa

  29. 5 out of 5

    Justin

  30. 4 out of 5

    Ryker

Add a review

Your email address will not be published. Required fields are marked *

Loading...
We use cookies to give you the best online experience. By using our website you agree to our use of cookies in accordance with our cookie policy.