In his article, “Studying Blacks and Horror Films” Coleman states that blacks in horror movies can be shown as the monster or the victim or not shown at all. In any case he is saying that there is racial profiling and statements throughout the history of horror films. For example, in Jurassic Park, he describes the death of black guard number one when he is eaten by a velociraptor. He claims that this “black annihilation” made it a horror show. What he means is this black person is shown to be dispensable because of his race. Blacks do not even have to be in a horror film but a statement is still being made regarding their socioeconomic status. For example, where Freddy Kruger and Michael Myers are killing people there are no blacks in the neighborhood. The neighborhood has white middle class status and blacks are clearly excluded from it. An example of a horror film where blacks are included specifically is, The People Under The Stairs. There is a black protagonist and ironically it is set in a poor black neighborhood. This is making a statement that black “monsters” should not try to move into a different or better neighborhood. The treatment of blacks throughout the history of horror films is similar to the treatment of blacks throughout life.
In the horror film, Candyman, there is a clear example of gentrification when Helen discovers that the condominium she and her husband Trevor live in was once a low income housing project. She finds this out when she is investigating the murder of Ruthie Jean, one of the Candyman’s victims. Through the photographs she finds in the newspapers she makes this discovery. This shows that they took the projects and updated them to conform to middle class values. In the reading, Coleman states black horror films provide many examples of how “race, racial identities, and race relations are constructed and depicted” (pg. 8). Racial identities are shown when Ann Marie explains how Ruthie Jean was killed by the Candyman. Ann Marie had heard her scream, she dialed 911 for help and no one came. She dialed 911 again and still, no one came. This is to exemplify that because the low income housing project was crime ridden, the police basically ignored any plea for help.
Source: Universal Pictures, 1992, Candyman
(Ann Marie discussing what happened the night Candyman murdered a little boy)
Another example of Coleman’s idea is that the historical reality of blackness is shown clearly at the beginning of the film. This is shown when Helen is working in a classroom at the University of Illinois when two cleaners come in to do their job. The cleaners are stereotypically black and are there to serve the students at the university. These characters appear to be nothing, but give Helen the information that leads to further research of the Candyman. Coleman also points out that “blacks have been rendered deficient-childlike…lower in socioeconomic studying…” (pg. 9). This is shown when Helen is first victimized by Candyman in the bathroom near the projects. She identifies Candyman in the lineup and is surprised that they found him. Helen says to her friend Bernadette, “Two black people are murdered and no one cares, but a white woman goes in there and gets attacked and the place is completely locked down”.
Source: Universal Pictures, 1992, Candyman
(Helen talking to Ann Marie about racial profiling and why it is unfair)
This shows that the lives of black people are not important in society and the lives of white people are. Candyman is a depiction of evil and he passes that on to the white female protagonist at the end of the film.
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