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The Black Gothic Imagination: Horror...

Gaines, Mikal J.

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The Black Gothic Imagination: Horror, Subjectivity, and Spectatorship from the Civil Rights Era to the New Millennium.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Black Gothic Imagination: Horror, Subjectivity, and Spectatorship from the Civil Rights Era to the New Millennium./
作者:	Gaines, Mikal J.
面頁冊數:	360 p.
附註:	Source: Dissertation Abstracts International, Volume: 77-07(E), Section: A.
Contained By:	Dissertation Abstracts International77-07A(E).
標題:	African American studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10031520
ISBN:	9781339531502

The Black Gothic Imagination: Horror, Subjectivity, and Spectatorship from the Civil Rights Era to the New Millennium.
Gaines, Mikal J.

The Black Gothic Imagination: Horror, Subjectivity, and Spectatorship from the Civil Rights Era to the New Millennium. - 360 p.

Source: Dissertation Abstracts International, Volume: 77-07(E), Section: A.

Thesis (Ph.D.)--The College of William and Mary, 2015.

Black spectators have maintained a deeply fraught relationship with the horror film going at least as far back as the 1950s, and this relationship persists even today. Yet, little research has been done that considers this audience, their various viewing positions and practices, or the historical and industrial forces that have shaped how they interact with the genre. That a substantial black audience has been drawn to the modern and postmodern horror film despite or perhaps even because of its notoriously negative treatment of blackness is a phenomenon that warrants closer attention; it is precisely these kinds of ambivalent and contested cultural negotiations that reveal how racial subjectivity informs ideas about the horrific and vice versa. More than just a genre of fright that anticipates and articulates cultural anxieties, horror operates as part of a larger ideological sphere that informs how Americans conceptualize intersectional relations of power.

ISBN: 9781339531502Subjects--Topical Terms:

2122686
African American studies.

The Black Gothic Imagination: Horror, Subjectivity, and Spectatorship from the Civil Rights Era to the New Millennium.
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245 1 4 $a The Black Gothic Imagination: Horror, Subjectivity, and Spectatorship from the Civil Rights Era to the New Millennium.
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500 $a Source: Dissertation Abstracts International, Volume: 77-07(E), Section: A.
500 $a Adviser: Arthur Knight.
502 $a Thesis (Ph.D.)--The College of William and Mary, 2015.
520 $a Black spectators have maintained a deeply fraught relationship with the horror film going at least as far back as the 1950s, and this relationship persists even today. Yet, little research has been done that considers this audience, their various viewing positions and practices, or the historical and industrial forces that have shaped how they interact with the genre. That a substantial black audience has been drawn to the modern and postmodern horror film despite or perhaps even because of its notoriously negative treatment of blackness is a phenomenon that warrants closer attention; it is precisely these kinds of ambivalent and contested cultural negotiations that reveal how racial subjectivity informs ideas about the horrific and vice versa. More than just a genre of fright that anticipates and articulates cultural anxieties, horror operates as part of a larger ideological sphere that informs how Americans conceptualize intersectional relations of power.
520 $a Building upon the work of scholars such as Linda Williams, Saidiya Hartman, and Carol J. Clover, this study asserts that narrative horror has assumed a dialectical relationship with American rights discourse. Both fields draw from a familiar gothic vocabulary that positions the abject human frame at their centers and both are bound by a similar transactional economy whereby persecution yields entitlement, suffering pleads for violent retribution, and injury demands vengeance. Horror's appeal for black audiences during the latter half of the twentieth century can therefore be traced not simply along axes of circumscribed representation, but more significantly, to its insistence upon coding otherwise nebulous antagonisms in the readily legible terms of monsters and victims, persecutors and oppressed. Ultimately, the horror film has allowed black spectators a means through which to interrogate issues that have remained central to black life in the wake of [legal] desegregation, namely questions of autonomy, mastery, mobility, ownership, vulnerability, and empowerment. Utilizing various interdisciplinary approaches across five thematic chapters, this study contributes to an ongoing conversation concerning how people make use of cultural products and how patterns of cultural production and consumption operate in relation their social, spiritual, psychological, and political lives.
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