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American Horror Films Have Often Played On Our Societal Fears

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American horror films have often played on our societal fears, and in Candyman (Bernard Rose, 1992), the film directly deals with race, reminding us that it is still very much a problem in society today, and that ‘our traumatic racial past still haunts us’ (Vern, 2015). The film ‘marks the introduction of an African-American monster to the horror mainstream’ (Donaldson, 2011) and it ‘succeeds in asking some very pointed questions about race and class’ (Elizabeth, 1992). Ultimately this is done by investigating ‘the obscure fears we harbour about the unknown’ – or the racial ‘other’ (Blackwell, 2015). Andrew Tudor says that ‘typically, a horror movie will exploit the tensions implicit in a particular contrast, confronting known with the …show more content…

They visit the Cabrini-Green housing project which is rumoured to be the home of Candyman – as this is where he was supposedly lynched by the white community. Candyman is the racial ‘other’ of the film, as he is alienated from society. As the son of a slave, he grew up quite affluently for a black man, as a result of his father earning money from a shoe manufacturing machine he invented after the Civil War. Candyman went to good schools, became very well-educated and developed a talent for painting. A white land-owner commissioned him to paint a picture of his daughter, whom he fell in love with and conceived a child with. The dominantly white community lynched him, cut off his arm, drenched him in honey and set him ablaze. Candyman is effectively punished for being financially well-off and well-educated like his white counterparts and this plays on the white man’s fear of the black man breaking class boundaries. It can be said that ‘the inclusion of Candyman’s back-story shows that Candyman is not even really a villain, but a victim’ (Unknown, 2009) and this therefore blurs the boundaries between the role of the monster and the role of the victim in

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