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Race is not something encountered in horror films directly, even though they are highly charged with black and white conflict that constitutes a central racial structure in the cinemas (Donaldson,2011). That conflict is usually dramatized physically and specifically. It is seen as a threat to the miscegenation that permeates those dramatic chases, inspired by the emphasis on the surplus body’s essence for horror films—the racism or opposing the relationship bears of black and white of the monsters and the victims. The apparent change in racism in horror films is usually challenged by broader strategies of embodiment and how the characters are represented. What makes race be articulated in America is based on the suffering of the black male body while threatening is by a white female body. That shows the correspondence of white and black experiences, destabilizing the most common impulses related to racism around the black and white suggestions (Donaldson, 2011). The paper discusses more on how racism is portrayed in horror cinemas


Candyman being the African-American monster, threatens the physical presence procedure of attacking. Candyman portrays the stereotypes of races based on fears by paying attention to the blonde heroine Helen. That offers him an incarnation of racial stereotypes related to worries and anxiety mixed through Candyman’s intentions to Helen. Candyman seems to be taking these fears to a form of a highly monstrous black male body that becomes an erupting site of the racial concerns while the female bodies become the playing site of these fears. According to Donaldson (2011), even though the ambiguity of this film is treated in the stereotyped race, the excessive representations of the contradictions and attractions allow the racial stereotypes to be perpetuated. Candyman and Helen are the monsters and victims who become dual in defining double figures. Exploring more on the parts of monsters and victims is experienced through physicality and performance, offering complexities that undermine the blackness or whiteness of either a female or a male.

The centered person in this film is the Candyman, while Helen is a white lady, and Bernadette a variegated race. Helen is introduced to the Candyman by a white middle-class teenager in Chicago. Candyman has this setting to kill white middle-class teenagers who appeal to his appearance in the mirror. African-American couple cleaners who claimed to be killed by jean, another mixed-race woman. The contrasting issue between these stories with the other three told in the movie builds ambiguity centrally about the monster before he is shown (Donaldson, 2011). A division of race and classes pervades this movie because its setting is striking in playing visibility or invisibility of the white and black societies. Also, increasing the sense of fear and anxiety is intruded across the horror film. What I say is that the film poses a racial structure with specific kinds of social circumstances that go along with the smuggling of white male scholar and hostile black male gangs that show that the whites have no inhabitants of Cabrin: there are no black inhabitants of condominium Helen (Briefel and Ngai pg. 301).

Noting the racial backgrounds of these horror films’ characters shows the basic differentiations in viewpoints among the white world of middle-class scholars, which is not concerned with the daily actuality of its research issue, and the African-American underclass, which shows violence with emphatic. The divisions of racial classes permeate the structure of the imaginary world that is seen as an invention of Bernard’s Rose while adapting the Clive Bakers short story based on the film. Rose Bringing race by transposing Liverpool to Chicago action to the forefront makes the city crucial in African-American urban settlements, enhancing racial tension. The anxiety over the racial diversification of suburban enclaves the white middle-class due to trends in rising mobility. Also, it means that fear relates to an opposite yet coinciding phenome-non: the dispersion of lower-income individuals due to displacement and subsequent from restrained inner-city neighborhoods that follow Reagans drastic cuts (Briefel & Ngai pg.283)

The use of real-life projects interests the racial dynamics which is foregrounded. Since it’s a famous landmark in Chicago, Green appears to be dominated by drug groups with terrible situations. Cabrini Green, the choice site of Jean’s death, seems to be the film’s primary location, making the situating narrative in the racially polarized world’s context. It shelters the middle-class academia settings making it be opposed to the poor and violent of the inner city, which is the experience of African-American (Briefel & Ngai pg. 294).

By the time Helen arrives in this city, a vast deal of tension has already been accumulated around the prosperous society making it separate from the domestic and the academic spaces occupied by realities of the environment. The social fact of this movie shocks the stages because they are already arranged around a dynamic created by two middle-class women who are intruders of this society. The most immediate threat does not come from the supernatural sources but the neighboring gangs. As the protagonist, Helen is the owner of fear because she is assaulted by gang members that are the Candyman. He positions Helen as the implicated in the multiple murders.

Helen is not responsible, but that shows that it is a symbolic marker of punishment because of imposing the place she does not stay. Her potential exploitation of the individuals limits their living options because of the racial and economic disenfranchisement. She does acknowledge she is a privileged white, educated middle-class individual. Helen, in this case, is already a part of a believer in Candyman’s myths of controlling the buildings. I am trying to say that the way racism is represented in this movie is essential in the monster’s construction because the monster is invisible, so the black society’s fear and anxiety are made visible again by intruding a white woman.

The film is a whole and trades merely with flatly laid contexts of the Candyman, especially in his narrative where shoes that conservatism places schematic conflicts based on race are usually structured to articulate the white fears express the fears miscegenation informed to the American films. Being afraid shows empowerment, which is why they are only in horror movies. Briefel and Ngai (pg. 301) say that fear has to be experienced by those who are marginalized economically because when they perish like the candy man in this paper shows how this fear is privileged. Genre films are meant for allegorizing in reality. That pertinent of attending and bringing up confrontations between the white lady and black male makes thinking the implication connections that end the decision and the places within the horror narrative. Hat connection between the white woman and vulnerability endures an American culture image.

The reflections of this film show how a white woman is glowing. That indicates that the white race is unique. That brought fears on the black men concerning excessive physicality and complimented the white feminine idealization. The cultural strength invented in the human representation of white and black with graphic horror led to the encountering of Helen and the Candyman. Candyman is organized with racism issues like that of Judith, preventing the movie from validating racist assumptions on black men’s aggressions to white female appearances. How these physical contrasts are drawn complicates Helen, showing ways that are tired from narrative structures being developed.

Additionally, how Candyman and Helen meet and how their bodies are accessed is constructed and portrayed through human interaction resulting in a reciprocal relationship that shows the inter-connectivity instead of oppositions. We see that embodiment supports the symbols of torture corresponding to the main icon of enduring agony in black male bodies.

Furthermore, in the movie Candyman is portrayed as brutal. Furthering humanity and cultured markings of his appearance usually shows prominence because of his movement and arrayed combination. Since brutality is lacking in his motion and the elegance in his body indicates the determination to be violent. Todds does not seem like that kind of man but as a good person and not a monster because his face marks he is not intense. Todd says he appears to be dignified, seductive, and fabulous and not a beast even because of how he dresses. Just because he had dressed like a white makes his one, and that is why the white anxiety over blacks is mobilized. That concerns even in his history as an educated slave son replaces his paintbrush that is said to be hook poignant (Briefel &Ngai pg. 285). Such things evoked his historical circumstances, making him a contrasting crisp to the African-American working group as shown in cinemas.

Because paying attention to physicality shows that the film embraces the self-conscious and comprehensive relationship representing the racial stereotype making the Candyman be seen or judged as a real gentleman and not a monster. His frightening physicality in his right arm and a sizeable vicious hook portray infliction of violence, brutality, and Helen being frightened for her body, resulting in sympathy, fear, and anxiety. Candyman is a source of terror, but in a real sense, his physicality shows that he is violent and at the same time suffering because of the marks making him both a monster and a victim.

Also, when Hellen appears in the last part of the movie shows that the sequence motif is repeated in Candyman’s concurrent realization of the victim and monster due to Madsen’s body appearance and representation. Her relationship shows she has already embraced Candyman’s capabilities of being a victim and a nightmare. After she dies, she materializes her husband Trevor in the bathroom, mirrors her burnt head and still white outfit in the white burial dressing. Hellen’s supernatural appearance strobes a lighting impact in the dark bathroom, making her skin even whiter. That scene shows that Helen is also determined by physicality and capabilities that suggest whiteness qua whiteness. That complicates her appearance to that of Candyman.

That shows that Helen and Candyman have a problem with racial relationships because they are both victims and monsters, making them be part of the change and multifaced or interchangeable. Their relationship is only based on material details of the performing bodies and how they are arranged in the camera, making their connections be like our own experiences: making it a central dynamic. How Gothic motif expressed through performance created a doubling body in the Cabrini green, making it ambiguous. How they double the victim and monster thing is a vital part because it dramatizes ambivalence.


In conclusion, Briefel and Ngai say that fear is experienced initially by those economically marginalized, especially in space. Signifying the current horror movies shows that the lies are usually reflected with simple moral dual opposition that shows that horror films are strange and are in-human. That indicates that horror racisms are part of us and usually caused by us. That opportunity of analyzing how racism is portrayed in horror movies has shown attention to engagement directs these issues to be responsive to how they articulate materials and culture. Paying attention to personification emphasizes the theory that opposes fleshed and dramatized bodies that shape people’s experiences in the race, thus enriching understandings of these films. Addressing these issues relating to Candyman has demonstrated that commitment needs to be detailed and be approached in order o offer intricacy that rewards critical interactions and invoked the watching experiences. That ensures the complexity engagement has to figure out the boundaries that substantially blur the monsters and the victims. The haunted house trope based on all horror movies derives a private proprietorship that produces anxieties as a form of emotional property. Restricting the represented fears or anxiety is what we call the privileged: white middle-upper class individuals. Being afraid shows empowerment, and that is why they are only in horror movies. Briefel and Ngai say that fear has to be experienced by marginalized people economically because when they perish like the candy man in this paper shows how this fear is privileged. Genre films are meant for allegorizing in reality.


“How much did you pay for this place?” Fear, Entitlement, and Urban Space in Bernard Rose’s Candyman by Aviva Briefel and Sianne Ngai edited by Alain Silver and James Ursini 2018 (pdf)

Donaldson, L.F (2011) the suffering black male body and the threatened white body female ambiguous bodies in Candyman http://centaur.reading. Ac.uk










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