richardmurray

I quote the review: "And most importantly, it’s Black and never lets you forget it. ... Why is that important? Because I think the way Blackness (in this case the Deep US South variety) experiences horror is unique because of the ways history has oppressed us. "  I thought about this comment for a bit and I read in the past year or two many reviews of black artwork: film/poetry/painting/et cetera talking about horror/criminality/being bad as an uncommon angle. The word unique in inappropriate, the black community in the usa is not the first community that lives under or aside another, another being the white community in the usa,  thus suffers abuse from under while tries to prosper aside. The uncommon angle refers to , in my opinion, a moral relativity. Morals are laws/codes/rules . The majority in the black community, not all black people, in the usa live by a philosophy of moral equivalence. The philosophy is, I paraphrase al sharpton, whomever acts amorally is against the moral struggle. I rewrite, if the goal is to be enact positive change through nonviolence, then not only do white people who act violently have to be opposed but black people that want to reply violently have to be opposed. Now, why do I say this in terms of the elements of horror in black fiction? Historically in the usa, most visual fiction by whites ,  creates or sustains a mythology of goodness to the system, or agents to the system. <I excluded literary fiction as you can find examples of white literature in the usa where the system or agents of the system are deemed horrible or  written horrible, like from   Flannery O'Connor or f scott fitzgerald > The lone ranger, law enforcement in visual media in general in the usa. But, black horror says, the criminalitiies or illegalities of the goglamite creature <I Stole that name from a samurai jack episode, can anyone name what the episode it about? epoints up for grabs:)> is equivalent to the law enforcer. It isn't , the law enforcer is forgiven or forgivable while the goglamite creature is the primary amoral agent. She referred to the film US, and at the end of the day, the great evil mastermind in the film is the heavily financed negligence of the usa government. Beyond the clones, the true source of the evil is a government that was able to finance a project of such immense infrastructure that gardless to the reason lost sight of it. It isn't that  the lone white family in the country side with chainsaws isn't amoral but that a government ineptitude can be equivalent in horror or, to be blunt, greater in horror scale. I do think reviews have to moderate their zoning of this issue. The literary world is full of examples of this, not merely from people of color, people of color defined as non white european descended people, but also , white people descended from europe. I think Titus from shakespeare can be deemed a horror story in terms of the activities of the characters, and all the main characters are the upper eschelon of society. Titus is a general, their is no  bigger cop than that, and the emperor is the president for life. so... The sequential visual world, the film or television world, is the environment where you see true variance in moral coding if you compare  said what people of color make compared to their other.  And in defense of sequential visual media, the USA led the way in that media. If anyone read this far, and no I did not spell check or go back to change notations or words:), I think Baum/Fields/Disney had the largest influence on fiction in the infant film world in the usa . OZ/Birth of a Nation/Disney are the source of all the various commonalities. From older women being the bad witch, to the white man on the horse hero, to insulting representation of nonwhites, those three started it in film media and as film media grew or mutated, their principles survive to today. But, the usa doesn't have an ancestral base. The culture of the native american community isn't the cultural base of the usa. Europe for all of its similar biases has a cultural base to early humanity. Thus why European cinema has never been a mirror to usa cinema.  I end with a simple point. It will be a challenge getting moral concerns to become equivalent to financial concerns for those who finance the arts in the usa. 
Bacchanal by Veronica Henry – FIYAH (fiyahlitmag.com)