Tyson Johnson

Professor Cherie Lindhardt

African Americans have undergone extreme discrimination and misrepresentation

throughout Hollywood since films started coming into production. The idea of white patriarchal

capitalism dominated the early film industry and still prevails in many of Hollywood’s more

modern releases. The concept of white superiority over other ethnicities is not a new concept,

but one that has ruled American society for decades and has created an ideology among the

American people that creates the stereotypes that reside in our current culture. This ideology

has caused difficulty for the African American people throughout the film industry with finding

jobs and accurate representations of their unique ethnic qualities within movie studios.

Classical Hollywood cinema began by representing African Americans as slaves, commonly

referred to as Uncle Tom characters, or as Black Bucks, who were brutal, animalistic, and overly

savage in nature (Benshoff and Griffen, 2009, p. 78). These representational stereotypes

continue to dominate many of Hollywood’s releases, especially among the horror genre.

The concept of early American horror films was to distinguish what was considered

normal in comparison to the monstrous representations portrayed in the films. This early

model for horror films was mostly represented with white heterosexuality as the normal

behaviors to follow and the monstrous aspects were represented as the racial stereotypes that

contrast American whiteness (Benshoff 2000). While many of the horror films released during

the early years of Hollywood were straightforward, the majority of horror releases focused on

the concept of white superiority fighting against African American influenced cultures, beliefs,

and persons (Benshoff 2000). The releases of King of the Zombies and Lucky Ghost, featuring

Mantan Moreland, from 1941 and 1942 respectively, demonstrate Moreland’s comedic aspects
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Eportfolio Essay

throughout both films and address the fact that his character is not taken seriously by the other

white characters, despite the frightening events that occur (IMDB.com). The representation of

monsters being portrayed as African American individuals only further created the stereotypical

society that reigned during the early era of cinema and essentially helped shape the concept of

white heterosexuality as the accepted lifestyle. Even though representation was difficult to

overlook during the time, the horror genre began a surge of race movies in the 1970’s with all

black casts to contrast the white-cast horror movies of the 1930’s and 40’s.

These African American produced films, often referred to as blaxploitation films, were

quite popular among horror fans despite the controversy of their intended purpose. With

African Americans now playing both monster and hero there was great confusion among how

these films were to be interpreted by audiences. The idea of the blaxploitation horror film was

to provide African American audiences with a feeling of triumph over white, racist antagonists

(Benshoff 2000). Even though many argued against the films, as they presented a “potentially

damaging” motive towards the equal rights movement (Benshoff 2000), they were quite

successful at the box office and provided African American audiences with an opportunity to

experience horror films within their own cultural background.

Probably the most recognized film during this era was Blacula, a film that played off the

original Dracula movie released in 1931 (IMDB.com). The commercial success of this film helped

to expose traditional racial stereotypes that had gone previously untouched in the horror genre

prior (Benshoff 2000). Blacula also showed the world that African Americans have just as much

capability of portraying America’s favorite monsters as did Boris Karloff or Bela Lugosi. Though
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Eportfolio Essay

there was significant controversy over the film’s exploitative nature, it continues to be

examined as a huge step forward towards equal representation within the horror genre.

William Marshall’s performance inspired many more well-renowned horror films throughout

the remainder of the 1970’s that have shaped African American culture and created a place for

ethnic diversity in American horror films.

One such film that continued to define the 1970’s horror trend was Sugar Hill. Like

William Marshall’s performance in Blacula, Marki Bey uses classic African American stereotypes

to demonstrate the urban culture of the time period, though with a more monstrous undertone

(Benshoff 2000). Voodoo and revenge are the key driving forces of the film’s narrative which

comes across almost as a step backwards from what Blacula was trying to showcase. By relying

on African American culture Sugar Hill comes across as more of an exploitation film that

highlights the aggressive nature of African Americans commonly presented in early classical

filmmaking (Benshoff and Griffen, 2009, p. 89). The film also clearly represents the monstrous

nature of African Americans through the zombie cronies that serve Sugar who are violent in

nature and seemingly obey without question, an interpretation comparative to slavery. The

characters are also clearly shown as former slaves through their costume design and mise-en-

scene (Benshoff 2000). Slavery is also dominantly present in the horror genre through the

concept of monstrosity which is a direct allegation to the curse the African American people are

forced to endure (Benshoff 2000). Though Sugar Hill had a more controversial response it still

played a huge role in African American representation throughout the 1970’s horror craze.
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Professor Cherie Lindhardt
Eportfolio Essay

Even with the increased representation African Americans were receiving, horror films

continued to idealize classic stereotypes throughout their releases. The “magical negro”

representation became significantly prominent in the years that followed, and is still present in

many of modern horror films as well. The idea that minorities used supernatural powers in

order to aid the white characters became a strongly opposed stereotype that revisited the

“uncle tom” stereotype from the early years of Hollywood (Benshoff and Griffen, 2009, p. 96).

Horror films adaptations of Stephen King’s The Shining and The Green Mile are some of the

most notable for the “magical negro” stereotype. In The Shining, Scatman Crothers’ character

has the rare ability, referred to as the shining, that allows him to communicate telepathically

with others. This gift allows him to be able to forewarn the family of the possible dangers that

are sure to ensue. Following a similar fashion, The Green Mile showcases Michael Clarke

Duncan’s performance as John Coffey with the essence to heal others of their ailments. In both

cases the African American’s magical abilities reinforce their servitude towards the white

characters, keeping the essence of superiority alive.

George A. Romero’s Night of the Living Dead was one of the earlier horror films to break

away from the traditional representations with a remarkably helpful and capable African

American character. The film shows Ben, played by Duane Jones, as a young man who takes

charge of an overwhelming situation where the dead have risen from the grave. Ben is one of

the few characters that is able to maintain a clear mindset while instructing the other

characters, whom are white, on how best to handle the situation (Baker Kee 2015). It’s

phenomenal to see an African American commanding white folks in film, especially with the
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Eportfolio Essay

film’s 1968 release where previous films, and even ones after, continued to focus on racial

stereotypes. Night of the Living Dead is an amazing film that tore down the classic white

patriarchal structures in place at the time and continues to be regarded as one of the most

renowned horror films among fans today (Baker Kee 2015). Even though Romero’s work was a

racial-defying film among the horror genre for its time period, filmmakers resorted back to the

classical representations through the next few decades and it hasn’t been until recently that we

have started to see African American representation on equal terms with white horror films.

Modern filmmaker Jordan Peele has been defining fear in a whole new way with his

recent films Get Out and Us. Both films feature primarily all black casts and demonstrate the

fears that plague African Americans in today’s society. Get Out highlights the fears a young

African American man has about confronting his girlfriend’s white family and how he will be

received by them. The narrative ultimately trails down a darker and more sinister path, but the

overall theme is clearly laid out. Even though equality has become more accepted today than in

years past, there is still lingering fear and discrimination among the African American

communities of America that persists through media representation. Peele’s work, like many

filmmakers before, is helping to educate and inform the American people of the struggles that

continue to distress minority groups in the modern era. Hopefully in the next coming years we

will see more releases by Peele and others who are willing to stand up for the discrimination

our African American culture continues to endure.

The horror genre has struggled with equal representation throughout Hollywood’s film

career and to this day stereotypical representations still preside within the style. The
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Eportfolio Essay

blaxploitation era began by creating a space for African American representation by promoting

strong talent from otherwise neglected individuals. Though many critics condemned the

monstrous representations, there were still many who were simply thrilled to see their own

ethnic group stand on equal ground, even as monsters (Benshoff 2000). Racial advancement

has fought hard throughout horror films and strives to create a place for African Americans

within the genre that supersedes traditional racial tropes, creating a diverse film capable of

demonstrating the reality of American society. As is with all film, horror films with black casts

help to provide audiences with characters that can be sympathized and related to that share

similar feelings of fear (Benshoff 2000). While white society continues to dominate the horror

genre and classical stereotypes still prevail, modern releases, such as Jordan Peele’s works, are

shedding a much-needed light against the shadow of African American misrepresentation.

Works Cited

Baker Kee, Jessica. “Black Masculinities and Postmodern Horror.” Visual Culture & Gender, vol.

10, 2015.

Benshoff, Harry M. “Blaxploitation Horror Films: Generic Reappropriation or Reinscription?.”

Cinema Journal (2000): 31-50

Benshoff, Harry M., and Sean Griffin. America on Film: Representing Race, Class, Gender, and

Sexuality at the Movies. Wiley-Blackwell, 2009.

“King of the Zombies.” IMDb, IMDb.com, 14 May 1941,

https”//www.imdb.com/title/tt0033787/?ref_=nv_sr_srsg_2.