从金刚到坎迪曼，这部恐怖电影的边界推动类型一直是美国流行文化中对种族进行挑衅性探索的场所。在《黑色恐怖：1890年代至今美国恐怖电影中的黑人》一书中，罗宾·R·梅斯·科尔曼追溯了恐怖电影中黑人的显著特征，并考察了屏幕上和镜头后黑人参与的关键水平。她认为，恐怖为黑人提供了一个代表性空间，让他们挑战其他媒体上看到的更负面或种族主义的形象，并在黑人概念本身中描绘更大的多样性。
《黑色恐怖》通过恐怖电影中不断变化的形象展现了美国黑人独特的社会历史。在全文中，读者被鼓励去解读这一类型的种族化意象，以及构成流行文化对种族的评论的叙事。
这本书对这一类型进行了全面的时间顺序调查，介绍了一系列黑人恐怖电影，包括好莱坞主流电影，以及艺术片、Blaxplotation电影、直接到DVD的电影，以及新兴的美国/嘻哈文化启发的尼日利亚“诺利伍德”黑人恐怖电影。因此，《黑色恐怖》对于任何想要了解关于种族和种族关系的恐惧和焦虑是如何在银幕上表现出来并经常受到挑战的人来说都是必不可少的读物。
Horror Noire: Blacks in American Horror Films from the 1890s to Present
From King Kong to Candyman, the boundary-pushing genre of the horror film has always been a site for provocative explorations of race in American popular culture. In Horror Noire: Blacks in American Horror Films from 1890’s to Present, Robin R. Means Coleman traces the history of notable characterizations of blackness in horror cinema, and examines key levels of black participation on screen and behind the camera. She argues that horror offers a representational space for black people to challenge the more negative, or racist, images seen in other media outlets, and to portray greater diversity within the concept of blackness itself.
Horror Noire presents a unique social history of blacks in America through changing images in horror films. Throughout the text, the reader is encouraged to unpack the genre’s racialized imagery, as well as the narratives that make up popular culture’s commentary on race.
Offering a comprehensive chronological survey of the genre, this book addresses a full range of black horror films, including mainstream Hollywood fare, as well as art-house films, Blaxploitation films, direct-to-DVD films, and the emerging U.S./hip-hop culture-inspired Nigerian “Nollywood” Black horror films. Horror Noire is, thus, 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.
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