Blacula (1972)

The more and more I consume media, be it literature, theatre, television, etc., the more I’ve come to understand that art is a reactive medium. The narratives we see explored are a response to the world we inhabit and the conflicts we experience as a society. Because of this, even when a specific topic has been addressed previously, there are always nuances to be further excavated, always a new lens to peer through, to see aspects that have yet to be showcased onscreen. And with something as complex as racism and the stereotypical representation of “Blackness,” we are in need of as many interpretations as we can get to even begin to comprehend the full scope of this lived experience.

Enter Cord Jefferson’s sharp, hysterical, enlightening satire, American Fiction, which places an only-somewhat-exaggerated mirror in front of our 21st century society. Adapted from Percival Everett's book, Erasure, and boasting a cast of seasoned actors, each of whom has their own history of portraying the nuances to the Black experience, the film tells you what it is going to be from the first frame; and not only does it not disappoint, it proves to be even more wise, even more cunning than you could begin to imagine possible.

Horror Noire: A History of Black Horror moves chronologically through Black representation in horror films, as told and viewed by Black filmmakers and actors in this genre. I think it is important that the perspective is given solely to Black actors and filmmakers and is not counterpointed or discussed with White people. This film is about the Black experience as it relates to Black horror films. This is important for two reasons — #1 It will give non-Black viewers some perspective on the Black experience in representation or lack thereof; #2 As mentioned by Rachel True (actor in The Craft), sometimes the racism is so normalized in America (even to people of color) that its presence is often ignored. We all need to acknowledge the history of representation so positive change occurs.

Because of laziness, I will be abbreviating Horror Noire: A History of Black Horror as HN:HBH.

First, horror movies are profitable. Beyond that, a common theme throughout the horror genre, as articulated in many interviews in HN:HBH, is that Black history is Black horror. This message is weaved through the film and through the genre. The phases of Black representation in horror relate directly to the political and social climate of the time. As you will see in the timeline below, the first film mentioned, Birth of a Nation, is not a typical horror film. To Black viewers, however, it definitely reads as horror. The heroes in this film are the KKK! Birth of a Nation was screened at the White House and ENDORSED BY THE PRESIDENT! That doesn’t seem as shocking today as it might have seemed ten years ago, but still unacceptable. What message must have that sent to Black Americans? The only representation of Black people in films was meant to incite fear and demonize Black people.