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Depictions ofrace in horror films have been the subject of commentary by fans and academics. Critics have discussed the representation ofrace inhorror films in relation to the presence ofracist ideas,stereotypes andtropes within them. The horror genre has conversely also been used to explore social issues including race, particularly following popularization ofsocial thrillers in the 2010s.
Throughout thehistory of the horror film genre, especially in American-produced horror films, racialminorities have not received as much representation aswhite people, often being relegated to lesser roles. For most of the 20th century, minorities were often subject totokenism, being frequently cast as supporting characters orvillains.[3]
According to a 2014 study bySan Diego State University's Center for the Study of Women in Television and Film, racial minorities do not receive as much representation in films as white people.[4][5] Often female and minority characters only occupy minor roles.
White males have been given recognition in the film genre as the best friend character or the first victim in horror movies.[6]
The Center for the Study of Women in Television and Film's study examines on-screen representations of female characters in the top 100 grossing films every year. In addition to revealing some pretty dismal statistics when it comes to women in film and television, such as chronic underrepresentation, the prevalence of gender stereotypes, and lack of behind-the-scenes opportunities, the study also reported on the lack of ethnic diversity among the same media.[4]
Within the films that are examined, this study showed that "only 12% of all clearly identifiable protagonists were female in 2014".[4] Within those low numbers, most were still white (74%), with 11% beingblack, 4% beingLatina, 4% beingAsian, 3% from other places, and 4% other.[4] Imaginary alien female characters had become almost as likely to be seen as Latina or Asian women.[4]
"The Brother Always Dies First," coined by film critic Roger Ebert, references the popular misconception that black characters are the first victims in horror films.[7] While it is not true that minority characters are always the first victims, black characters have a significantly high mortality rate in horror films. This includes minor, non-speaking, sometimes nameless roles that might not warrant death within the narrative. In an informal study of nearly one thousand horror movies with at least fifteen hundred appearances of black characters, scholar Robin R. Means Coleman and author Mark H. Harris found the mortality rate was around 45%.[8]
The consistent killing of black characters was in part popularized by a lack of significant roles in early horror films, making them easier to kill in comparison to their white counterparts. Black characters were relegated to the status of largely undeveloped expendable victims.[9] For example,Mantan Moreland's unnamed character inSpider Baby (1967) is killed-off for shock and comedic effect.[8]
Much of the attention that minorities get within horror films is through the use of their culture as plot devices and structures to scare or trigger guilt among the white protagonists.[10][unreliable source?] References to such things as the "Indian burial ground" or the "medicine man" are commonly used in the horror genre to create a stereotype of "the other" and frighten white audiences.[10] Many of the themes and plots relate to forcefully taking land from aboriginal peoples and the horrific outcomes that follow.[11]
Horror films often rely on minority cultures and their signifiers being reduced to a mythical standpoint. The films do not portray these minority cultures sufficiently as an active part of the world, or in the lives of the main characters. Instead the cultures are cast as part of the mythological background of the evil that threatens the protagonist's life. American horror films have attacked the substance of bothNative American andAfrican American cultures, using them as devices and ultimately pinning them down as aspects of the past that are no longer a part of the current American culture. The "Indian burial ground" motif, heavily featured in horror film cycles of the 1970s and 1980s, is an example of how mainstream cinema renders Indigenous people as both hyper visible and invisible."[10]
Native Americans are often hyper-visible in North American films [and] at the same time they [are] rendered invisible through plot lines that reinforce the trope of Indigenous people as vanishing or inconsequential. Native Americans stand at the center of the dominant culture's self-definition because Euro American identity submerged and formed upon the textual and visual culture register of the Indigenous other.[12]
The "Mythical Negro" character is usually an older character who serves as an all-knowing aide to the main characters.[13] The "Mythical Negro" usually informs the protagonists of the realities of the horror they face, and guides them along the way. This character is set up to be sentimental and usually dies at some point giving the main character more cause to defeat the evil. They act as an outlet for exposition and their death is usually seen as necessary for the plot.[13] Movies likeThe Shining show this trope, with the only black character, Dick Halloran (Scatman Crothers), being the one who understands the protagonist's true powers and the evil surrounding the plotline. However, in line with his trope, he dies in an attempt to rescue the protagonist from the antagonist.[14]
In a similar manner to the racialstereotyping of the "Mythical Negro", there also exists several Native American stereotypes, including the "Shaman" or "Medicine Man". These caricatures enforce the idea thatNative American cultures are not seen in present day, and are rather a part of the distant past.[citation needed]
While times are changing, in the past and some current films, many characters of color are seen as the token character of their race or a "comic relief".
In many films, black and brown people are characterized by their stereotypes. Starting with the original concept of zombies in the early 1600s with its reflection of Haiti and its view of African slaves. The concept of zombies was never about "zombies", per se, but more about the reflection of slaves during that time period. Zombies are seen as lifeless and live a life of constant despair, similar to the lives of slaves who were subjected to cruel environments and treatment, making them live a life of misery.[15] Suicide was common during slavery, but it was believed that if you died your spirit would be released back to Africa, though if one were to take their own life, this would not be. Because of this, zombies were a metaphor for being trapped in ones' body until death as committing suicide would mean that your soul would not be released back toIan guineé.[16]
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There are a handful of directors attempting to address issues of race and sexuality,[18][19] and the exploitative power that horror movies have. Many Native American and African American directors/screenwriters and actors have begun to use the horror genre to bring issues ofracism and violence to audiences.[11][19]
Using the symbolic and graphic nature of the films, they can express their views and issues uncensored, and break through the white-centric world view to depict a more authentic and diverse setting.[neutrality isdisputed] With the rising success in the portrayal of minorities in lead roles in recent horror films, there are various opportunities directors can explore in respect to the historical mistreatment of minorities in the horror genre. Through exploring the differing perspectives and insights that diverse characters have, based on their lived experiences, directors can depict societal horrors, themes and traumas facing these groups with nuance and depth.[20][21][22]
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