Blaxploitation horror films

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Blaxploitation horror films are a genre of horror films involving mostly black actors. In 1972 director William Crain did the first blaxploitation horror film, Blacula.

History

Hollywood
movies. Many of these films already had the element of horror integrated into them. Over time these films transcended into their own subgenre of film, blaxploitation horror films. In the 1950s to 1960s Hollywood started to integrate films produced and starring African Americans into mainstream media.

There was backlash by several African American directors and actors that did not want to be integrated into mainstream media. They wanted to stay independent which caused them to create more of what were originally known as race movies.

Civil Rights Movement
.

African Americans were in fury at ongoing white oppression and wanted something that they could call their own.[2] They began creating films that were directed, starring, and produced by African Americans. In an effort to maintain their cultural identity they made it a point to emphasize the stereotypes the white media was portraying them as. They called this genre blaxploitation. Many blaxploitation films have a mix of comedy and horror.

However, director William Crain took the aspect of horror in these films one step further and created the first blaxploitation horror film, Blacula. As a result, a new subgenre of blaxploitation was created, dedicated solely to horror.[3]

Background

Blaxploitation is a

prostitute who is out to fight "[the man]" (white oppression). It spanned a new type of film genre that evolved all the way to what is now the urban blaxploitation horror films of the 21st century.[4]

Blacula

Charles Macaulay) himself and is turned into a vampire. An interracial gay couple of interior decorators buy the coffin that Blacula has been in for the last 200 years (technically, 192 years as the prologue is set in 1780) and bring him back to their home in Los Angeles
. Blacula has not fed in all that time as a result of Count Dracula's effort to punish him.

Once he freed from his coffin, Blacula goes loose on the streets of Los Angeles and becomes the black avenger. He terrorizes the city in his effort to quench his thirst for blood. While on his search to kill he meets a woman named Tina (Vonetta McGee) that looks just like his departed wife. He believes that she is the reincarnation of his wife and is bent on winning her affection by any means necessary. Tina's friend Gordon Thomas (Thalmus Rasulala) finds out that Blacula is a vampire and tries to kill him.[5]

While Blacula can be viewed as a merely a cheesy parody of the film Dracula with an all black cast, it should also be noted for its portrayal of human sexuality and politics. Before becoming a vampire, Blacula was an African prince that wanted to connect Africa with the West. He tries to form this connection in an effort to stop the slave trade.

Since the first part of the film is set right before the 19th century it can be taken to mean that the slave trade they are referring to in the film was the North Atlantic slave trade. This gives insight into the way Africans viewed the slave trade. Blacula goes to Count Dracula to ask him to stop the slave trade. Unfortunately, Count Dracula likes the slave trade and wants to keep it in existence.

This can be viewed as to how Africans saw whites as oppressors that wanted to reap the benefits of the slave trade. Not only was Blacula brought to America by two interior decorators, but they were a gay

racial prejudice and homophobia was running rampant at the time of the film's release.[6]

Despite the controversies, the film Blacula went on to be named one of Variety's Top 50 Movies of 1972 and to win Best Horror Film of 1972 by the Academy of Horror Films and Science Fiction Films. Crain went on to film the sequel Scream Blacula Scream; although it was not as successful, it is still considered a notable horror film (see below).[7]

Stereotypical characters

  • Spook - The spook is usually the comedic sidekick that is afraid of everything.
  • Primitive - This character is from the rural parts of Africa. He partakes in African rituals and is bent on killing everyone.
  • Mystical darkle - Like the old Magical Negro stereotype, the mystical darkle has some sort of magic powers that he or she uses to help or save the main character.
  • Voodoo doer - This character is a hybrid between the primitive and the mystical darkle.
  • Heroic death wisher - This character is usually a minor character that heroically dies to save the main character.
  • Ghetto dweller - The ghetto dweller is similar to a modern-day spook. He tries to act cool and intimidating throughout the film only to cower in fear when things get too scary.
  • Seductress - This
    seduce
    the main character in an effort to distract him. Usually the seductress does not have sex with the main character. She just teases him.
  • Authority figure - This character is placed in the film to promote a positive stereotype of African Americans. They tend not to have noticeable effect on the actions of the main character and are not that important in the overall story line.
  • Brute - The brute rarely speaks but he tends to be very sexual, especially with white women.
  • Voice of reason - This character is older than all the rest. Therefore, he has the most wisdom and should be listened to. He knows what is going to happen if the main characters do not heed his advice.
  • Sidekick - This character is just along for the ride. He or she does not have any real defining characteristic. They usually just stick around with the main character and wait for their time to die.
  • Rapper - This is a newer character that came about when blaxploitation horror films shifted to a more urban audience. His life span is based upon his popularity and fan base. His character tends to be similar to his
    rapper
    persona.
  • Star - The star is the protagonist of the film and tends to live throughout the film. All the other characters listed above help this character achieve safety and play a role in guiding them throughout the movie.

[8]

Notable films

Here is a list of what AMC considers to be the top blaxploitation horror films[9]

Notable actors and directors

Source:[10]

Social impact

Blaxploitation horror films are a way for African Americans to maintain a

racial bias.[11]

Blaxploitation horror films engage a number of contemporary social and political concerns. As Jamil Mustafa demonstrates, they appropriate the archetypes of Gothic fiction and film to address "issues of vital importance to American society and culture in the 1970s", including "race relations, the movements for civil and gay rights, the Vietnam War, illicit medical experimentation, and tensions between minorities and the police".[12]

Many of the monsters portrayed in these films can be seen as representations of black power and black pride. They also tend to push the boundaries of human sexuality. Much of the plot tends to be driven by sex. Blaxploitation horror films involving vampires explore queerness and the relationship between the movements for black and gay civil rights.[13] Characters that are seen as stereotypically "normal" are often rejected by the audience because they are not as easy to relate to. These characters would include the authority figure (mentioned above) and heterosexual couples. While these characters are often able to be related to in mainstream media, oppressed people tended to see them as a representation of their oppressors.[14]

Controversy

While many people viewed blaxploitation horror as a celebration of

African American culture, others did not view them in such a positive light. People started to view these films as perpetuating negative stereotypes about the African American community. There were leagues formed to prevent the making of these types of films. Members of the NAACP founded The Coalition Against Blaxploitation Movies. They even went on to use radical tactics to stop the productions of certain films. William Crain stated in an interview that members of the Coalition Against Blaxploitation Movies tied him up in a chair and told him to leave his studio in an effort to stop production of one of his films.[15]

Many of the films portrayed African American males as a stereotype of hyper-sexual beasts who ravish and demoralize woman. They help to portray the fear that the white media has instilled in its viewers. These films depicting motifs of the African American male raping white women are seen as

misogynist
.

Many of these horror films address the stereotype of African Americans partaking in bestiality. The

bestiality
.

As urban horror films emerged in the 1990s, they began to portray African Americans as gangsters and thugs living in the "ghetto" that partake in illegal activities and take advantage of women.[16]

1990s–2010s

Due to the controversy surrounding blaxploitation horror films, many are no longer being made. Many

film production companies see the theme as a fad that has run its course and decided to stop funding the projects. While some directors have continued to produce these types of films, like Black Devil Doll from Hell and Tales from the QuadeaD Zone they were produced with a minimal budget and were poorly made. New York filmmaker Sean Weathers
continues to make films in the blaxploitation horror genre.

During the early 1990s a group of African American directors sought to revive the genre. They put a modern twist on it by setting the films in urban areas, these films were directed at African Americans who lived in "the hood." They portrayed themes of

drugs, and poverty in an effort to relate to the new generation of oppressed African Americans.[17]

For example, the 1990 black urban horror film

AIDS epidemic. Bond wanted to show the ever-present danger of AIDS in the urban community at the time.[18]

Also, many of the films have influences of hip hop in them, and even star rappers like LL Cool J and Snoop Dogg (mentioned above), as well as others like

Lil' Romeo.[19]

The 2001 urban horror film Bones, directed by Ernest R. Dickerson and starring the rapper Snoop Dogg, is an example of the

hip hop influences that have been introduced to this genre. The film is about a gangster that comes back from the dead to avenge his murder.[20]

See also

Footnotes

  1. about.com
    , 15 Feb. 2011
  2. ^ Lawrence, Novotny. "Deadlier than Dracula." Blaxploitation Films of the 1970s Blackness and Genre. New York [u.a.: Routledge, 2008. 53-59. Print.
  3. ^ "1970's BLAXPLOITATION / HORROR HISTORY in 1970's Forum." Archived December 17, 2010, at the Wayback Machine THE HORROR DRUNX - Horror Movie Message Boards Forums. Web. 15 Feb. 2011
  4. ^ Reid, Mark A. "Two African American Horrors." Black Lenses, Black Voices: African American Film Now. Lanham: Rowman & Littlefield, 2005. 61-76. Print.
  5. ^ "Blacula (1972) - IMDb." The Internet Movie Database (IMDb). Web. 15 Feb. 2011. <https://www.imdb.com/title/tt0068284/>.
  6. ^ Lawrence, Novotny. "Deadlier than Dracula." Blaxploitation Films of the 1970s Blackness and Genre. New York [u.a.: Routledge, 2008. 53-59. Print.
  7. ^ Paszylk, Bartlomiej. "Scream, Blacula, Scream (1973) and Horror Express (1973)." He Pleasure and Pain of Cult Horror Films: an Historical Survey. North Carolina: McFarland &,, 2009. 125-30. Print.
  8. ^ The following stereotypes were taken from BlackHorrorMovies.com
  9. ^ Dates and directors have been taken from IMDb1213
  10. ^ These actors, actress, directors, and film studios are what BlackHorrorMovies.com, a website dedicated solely to the history of blaxploitation horror films, considers to be notable African American horror film actors.
  11. ^
    Project MUSE 7477
    .
  12. ISBN 978-1-78683-997-8
    . Retrieved 15 March 2024.
  13. ISBN 978-1-78683-997-8
    . Retrieved 15 March 2024.
  14. ^ Anolik, Ruth Bienstock, and Douglas L. Howard. "Part I: Demonizing the Racial Other, Humanizing the Self." The Gothic Other: Racial and Social Constructions in the Literary Imagination. Jefferson, NC: McFarland &, 2004. 74. Print.
  15. ^ Paszylk, Bartlomiej. "Scream, Blacula, Scream (1973) and Horror Express (1973)." The Pleasure and Pain of Cult Horror Films: an Historical Survey. North Carolina: McFarland &,, 2009. 125-30. Print.
  16. ^ "1970's BLAXPLOITATION / HORROR HISTORY in 1970's Forum." THE HORROR DRUNX - Horror Movie Message Boards Forums. Web. 15 Feb. 2011. <http://thehorrordrunx.yuku.com/topic/1634> Archived December 17, 2010, at the Wayback Machine.
  17. ^ Harris, Mark H. "African-American Horror Movies - Black Horror Movies." Horror and Suspense Movies and TV Shows - Reviews, Photos, News, Upcoming Releases, Trailers. Web. 15 Feb. 2011. <http://horror.about.com/od/horrormoviesubgenres/a/blackmovies.htm Archived 2010-12-04 at the Wayback Machine>.
  18. ^ "1970's BLAXPLOITATION / HORROR HISTORY in 1970's Forum." THE HORROR DRUNX - Horror Movie Message Boards Forums. Web. 15 Feb. 2011. <http://thehorrordrunx.yuku.com/topic/1634> Archived December 17, 2010, at the Wayback Machine.
  19. ^ "Rapper "Slash" Actor - Black Horror Movies.com Hip-hop Film DVD Ice Cube Ice-T LL Cool J Snoop Dogg Will Smith Coolio Redman Method Man." Black Horror Movies.com African-americans in Horror Films Tony Todd Ken Foree Blaxploitation Blacula Tales from the Hood Blade Blackenstein Petey Wheatstraw Thing with Two Heads. Web. 15 Feb. 2011. <http://www.blackhorrormovies.com/rappers.htm>.
  20. ^ "Bones (2001) - IMDb." The Internet Movie Database (IMDb). Web. 15 Feb. 2011. <https://www.imdb.com/title/tt0166110>.

Works cited

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