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goryhorroor · 3 days

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horror sub-genres: vampire

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thewindowofthesummerhouse · 1 year

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Jason Shawn Alexander

#Jason Shawn Alexander #illustrations #blacula #macabre #horror #dark #vampire

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horror-aesthete · 5 months

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Blacula, 1972, dir. William Crain

#horror aesthetic #horror movies #blacksploitation horror #70s horror #vampires #action horror #blacula #best dracula movie- change my mind

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georgeromeros · 11 months

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Blacula (1972) dir. William Crain

#blacula #filmedit #vampireedit #horroredit #my gifs #vampires #horror #horror movies #blaxploitation #movies #1970s #flashing gif

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horrorvillaintourney · 2 months

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DRACULA SMACKDOWN ROUND 1 MATCH 13: Blacula (Blacula, Scream Blacula Scream) vs. Troy Barnes (Community)

PROPAGANDA FOR BLACULA:

“Iconic movie monster, also tried to get the other Dracula to help stop the slave trade as a human."

PROPAGANDA FOR TROY:

“This is not a joke submission, I have upmost respect for this process! I just genuinely think that Troy Barnes as 'a sexy Dracula' from the Community episode 'Epidemiology' counts as 'directly inspired by Dracula' and I think he does justice to the role. Epitome of 'he's a little confused but he's got the spirit'.”

#blacula #scream blacula scream #william marshall #troy barnes #community #sexy dracula #donald glover #dracula #dracula daily #dracula smackdown

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weirdlookindog · 1 year

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Vonetta McGee in Blacula (1972).

#blacula #vonetta mcgee #1970s movies #william crain #horror

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frankendavis · 6 months

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In honor of Bram Stoker’s Commemorative Birthday.

#bram stoker #dracula #count dracula #the count #bbc dracula #bela lugosi #max schreck #nosferatu #blacula #sir christopher frank caradini lee #sir christopher lee #bela blasko #john carradine

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black-seance · 1 year

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Black Horror and Portrayal of Occult

Black horror has consistently been entranced with magic and mysticism, portraying African cultural aesthetics such as Vodou and ancestor worship. Many Black horror movies include themes of possession, occult, and ritualism which are portrayed differently from other horror because of a unique and stigmatized cultural lens.

Eve’s Bayou is interesting in its portrayal of Vodou and mysticism, as supernatural aspects of Black Southern life seem to be normalized. There are a range of different powers at play within the film, such as with Aunt Mozelle who is simultaneously blessed with foresight and plagued by a curse that has killed all her past lovers in varying gruesome fashion. The film’s main character, Eve, is also clairvoyant herself, and recruits the help of a Vodou lady in order to kill her promiscuous father. Eve is played by Jurnee Smollet, who also happens to star in Lovecraft Country, another show which centers itself around the occult.

Magic and mysticism is also very present in Blaxploitation horror, such as Scream Blacula Scream with its revival of Blacula via Vodou, or Sugar Hill, which makes use of the Vodou zombie trope through a thrilling tale of revenge. You also have the film, Abby, a horror film in which a woman is possessed by the Yoruba sex spirit, Eshu. Blaxploitation horror also includes portrayals of Black vampires and ghosts, heavy with themes of retribution, racism, and other social issues. These Blaxploitation films, while not really the best portrayal of African occult practices, are unique from other horror in that the horror is specifically of Black origin, again, an example of how Black horror looks at magic and mysticism through a cultural lens. This is in contrast to Western horror flicks, which seem to revolve around the general white sphere and look at magic and mysticism through a strictly gimmicky lens (vampires not as cultural figures, but as marketable boogeymen).

Themes of magic and mysticism can also be found in films such as Get Out, Candyman (both the originals and the sequel), and His House. Get Out’s usage of the mysticism is much more subtle than the rest, but it can be found in the beginning with the usage of the song, Sikiliza Kwa Wahenga, a Swahili song which Jordan Peele states is mean to represent Chris’s ancestors warning him to “get out”. Candyman’s usage is a bit more obvious, with magic and mysticism represented through the oral passage of Candyman as urban legend, which is explored in the 2021 sequel as a simultaneous representation of oral traditions of old, as well as generational trauma from racialized killings of Black men. Lastly, His House makes use of the apeth, otherwise known as a Night Witch in Dinka culture, a creature by which they must repay a debt to after abducting a child and getting said child killed.