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Horror Noire

Free Download Horror Noire

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Review

"Slavery’s brutality. The Violence that birthed a nation. Our own modern-day "birther' movement. Without question, Blacks, blackness and black identity is inextricably linked with horror. Means-Coleman plunders a natural, yet untapped source: the horror film. The result is a treasure trove of insight into how racial performance, racialized narratives, as well as challenges to prevailing racial discourse permeate American life. Means-Coleman builds her case for the historical and contemporary significance of horror films not only by astutely choosing the most exemplary among them, but by presenting her analysis in a vivid and powerful historical trajectory where 20th century media and 21st century technology set the stage for new debates about the future of race and Blackness in the global public sphere."-- Charlton McIlwain, Associate Professor of Media, Culture, and Communication, NYU "This book is gold. I thought I was a horror head, but she goes so deep into it, just speaking my language. Everything she says I’m just like, 'Yes... that’s exactly what I always thought.' It’s so nice to find a scholarly book that addresses what your friends have been talking about for years and just breaks it down." -Tananarive Due, University of California, Los Angeles, in "How Get Out Inspired a New College Course on Racism and Horror"

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About the Author

Robin R. Means Coleman is Associate Professor in the Department of Communication Studies and in the Center for AfroAmerican and African Studies at the University of Michigan. Her previous books include African Americans and the Black Situation Comedy: Situating Racial Humor and the edited collection Say It Loud! African Americans, Media and Identity, both published by Routledge, and most recently the co-edited volume Fight the Power! The Spike Lee Reader.

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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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