Robin R. Means Coleman – författare

Since the release of Jordan Peele's Academy Award-winning horror hit Get Out (2017), interest in Black horror films has erupted. This renewed intrigue in stories about Black life, history, culture, or "Blackness" has taken two forms. First, the history and politics of race have been centered in the horror genre. Second, Black horror has become an increasingly visible topic in mainstream discourses with scholars, critics, and fans contending that Black horror is seeing its so-called renaissance. However, critical attention to Blackness in horror has primarily focused on the U.S. and western world, despite Black stories having featured prominently in the genre-as actors, screenwriters, directors, producers-globally and across cultures. The essays in this handbook explore global Black horror cinema by interrogating Blackness and the ways in which it manifests in films across the diaspora and around the world. Chapters pose and answer questions including how taxonomies of race are presented; who is considered "Black?"; how is Blackness constructed in the culture in which it is produced and/or distributed?; How is horror defined and represented globally and/or culturally?; and what textual role does Blackness play in horror? Sophisticated, innovative, argument-driven research that brings to bear the most enlightened reflections upon Black horror's place in the world drives this handbook. Significantly, The Oxford Handbook of Black Horror Film presents expansive scholarship about Blackness, expanding the ways in which researchers, critics, and fans see and make meaning of Black experiences. In this volume, leading scholars from around the world contribute provocative, worthy examinations of the popular genre of horror in all its rich and empowering possibility.

From King Kong to Candyman, the boundary-pushing genre of horror film has always been a site for provocative explorations of race in American popular culture. This book offers a comprehensive chronological survey of Black horror from the 1890s to present day.In this second edition, Robin R. Means Coleman expands upon the history of notable characterizations of Blackness in horror cinema, with new chapters spanning the 1960s, 2000s, and 2010s to the present, and examines key levels of Black participation on screen and behind the camera. The book addresses a full range of Black horror films, including mainstream Hollywood fare, art-house films, Blaxploitation films, and U.S. hip-hop culture-inspired Nollywood films. This new edition also explores the resurgence of the Black horror genre in the last decade, examining the success of Jordan Peele’s films Get Out (2017) and Us (2019), smaller independent films such as The House Invictus (2018), and Nia DaCosta’s sequel to Candyman (2021). Means Coleman argues that horror offers a unique representational space for Black people to challenge negative or racist portrayals, and to portray greater diversity within the concept of Blackness itself.This book is 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.

From King Kong to Candyman, the boundary-pushing genre of horror film has always been a site for provocative explorations of race in American popular culture. This book offers a comprehensive chronological survey of Black horror from the 1890s to present day.In this second edition, Robin R. Means Coleman expands upon the history of notable characterizations of Blackness in horror cinema, with new chapters spanning the 1960s, 2000s, and 2010s to the present, and examines key levels of Black participation on screen and behind the camera. The book addresses a full range of Black horror films, including mainstream Hollywood fare, art-house films, Blaxploitation films, and U.S. hip-hop culture-inspired Nollywood films. This new edition also explores the resurgence of the Black horror genre in the last decade, examining the success of Jordan Peele’s films Get Out (2017) and Us (2019), smaller independent films such as The House Invictus (2018), and Nia DaCosta’s sequel to Candyman (2021). Means Coleman argues that horror offers a unique representational space for Black people to challenge negative or racist portrayals, and to portray greater diversity within the concept of Blackness itself.This book is 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.

In a collection of essays based on direct interview research, Say it Loud! amplifies the voice of ordinary African-Americans as they respond to media presentations of Black society. Each chapter investigates ways in which African-American identity is constructed, maintained, and represented in mass media and how these portrayals are interpreted within the African-American community. Together the essays cover a vast array of media messages in television, film, music, print and cyberspace. From the Boondocks comic strip, The Cosby Show, and The Color Purple to the music of rap artist DMX and original testimony from a Menace II Society copycat killer, the material included in this volume is examined as context for the African-American struggle to achieve definition, meaning, and power. Say it Loud! offers rare insight into how this struggle is both helped and hindered by the representation of race in our media culture.

In a collection of essays based on direct interview research, Say it Loud! amplifies the voice of ordinary African-Americans as they respond to media presentations of Black society. Each chapter investigates ways in which African-American identity is constructed, maintained, and represented in mass media and how these portrayals are interpreted within the African-American community. Together the essays cover a vast array of media messages in television, film, music, print and cyberspace. From the Boondocks comic strip, The Cosby Show, and The Color Purple to the music of rap artist DMX and original testimony from a Menace II Society copycat killer, the material included in this volume is examined as context for the African-American struggle to achieve definition, meaning, and power. Say it Loud! offers rare insight into how this struggle is both helped and hindered by the representation of race in our media culture.

Shelton Jackson «Spike» Lee is one of the most culturally influential and provocative film directors of the twentieth and twenty-first centuries. Bringing together seminal writings – from classic scholarship to new research – this book focuses on this revolutionary film auteur and cultural provocateur to explore contemporary questions around issues of race, politics, sexuality, gender roles, filmmaking, commercialism, celebrity, and the role of media in public discourse.Situating Lee as an important contributor to a variety of American discourses, the book highlights his commitment to exploring issues of relevance to the Black community. His work demands that his audiences take inventory of his and their understandings of the complexities of race relations, the often deleterious influence of media messages, the long term legacy of racism, the liberating effects of sexual freedom, the controversies that arise from colorism, the separatist nature of classism, and the cultural contributions and triumphs of historical figures.This book seeks to stimulate continued debate by examining the complexities in Lee’s various sociopolitical claims and their ideological impacts.