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Blog 6: The Final One

I can’t believe it’s here. Not only have I reached the end of my last term as an Undergrad EVER (graduation is in 6 days!!) but this is my last blog post for my Afrofuturism class. As such, I wasn’t sure what would be most fitting to end this experiment on. Call it hope for my future outside of UCLA or an ode to the way time is often malleable in Afrofuturism, but I decided that it’s important to look forward… by also looking to the past (because honestly what even is time).

One of my final lectures was about the current state of the Afrofuturism genre and its future. But in looking at how far we’ve come, we need to acknowledge Afrofuturism’s past…. And unfortunately, there wasn’t a whole lot going on to be honest. One of the things that surprised me, is that it wasn’t until recently-ish, a few decades, that Afrofuturism artists and works began to really emerge. In the beginning, there were only a few movies and books and authors, and like, one director. When one of the pioneers of the genre, Octavia E. Butler passed, it might have even felt or looked like Afrofuturism was done and over with. But that, fortunately, didn’t happen! In fact, it really started to take off within the last few years. When Black Panther came out - and by Mainstream Marvel no less! - it set a new fire and hope that Afrofuturism could inspire and continue - and it has. Many artists (Missy Elliot, Janelle Monáe, Kenrick Lamar, Beyoncé, Alabama Shakes, Reggie Hudlin, Okorafor, Nnedi (with Wanuri Kahiu), Boots Riley, etc.) through various mediums (music, music videos, lyrics, stories, movies) have produced great works of Afrofuturistic art and it’s only getting better. Especially with the past influences to draw from (Sun-Ra, George Clinton, Samuel R. Delaney, Derrick Bell, etc.) and the new forms of technology (which can be both good and bad) to help achieve a futuristic aesthetic. 

However, as discussed in one of my final lectures - the future of Afrofuturism (and I’d argue art in general) is a caution of relying solely on AI for these things. This is why, in my opinion, the WGA strike is so important in a lot of different ways. For the sake of good and soulful art - and for the care of people. Because Afrofuturism started and will continue to be a way that cautions and warns and shows people that we need to think about and invest in people that we often disregard. We as a society have to make sure we are taking care of each other and the things we care about: equality, justice, food and housing security, fair and liveable wages, healthcare, safety, etc. Parable of the Sower was set in the year 2024 - and we are almost there. And while I don’t think that it will be exactly like Lauren’s world, I do think that we are moving closer and closer to it. Closer and closer in having to fight for the right to live (I think most of us are actually there - just not in the extreme ways in Parable), closer and closer to constant violence and a need for hypervigilance, closer and closer to new and legal (if not completely unethical) ways for modern day slavery. 

But we can also get closer and closer to helping others and finding our own place to plant our own seeds. We can get closer and closer to helping others plant their seeds. And soon, if we work together, and take care of each other, and help and watch out for each other, and make sure we’re paying attention and fighting for the things that we care about, all the seeds that we were able to plant - of community, and love, and hope - will grow. And I want to make sure I’m part of that harvest.

#ucla #homework #the-assignment #assignment #blog #tananarive #afrofuturism #parable of the sower #octavia butler #graduation #hope

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Blog 5 - District 9 & Bad Afrofuturism

Learning about Afrofuturism has been fascinating. What it is, what it isn’t, the themes – even why it was first created. I’ve also been exposed to a lot of different ways that Afrofuturism is done – and done well. And in many different forums or avenues of art – like music, music videos, novels, short stories, short movies, and full-length feature films. So, I’ve seen a lot of good types of Afrofuturism. But now that I know what good Afrofuturism is – I also can spot the bad. I can now see when movie miss their – I’m assuming intended – mark. And this is evident in the movie District 9.

While it may appear to be Afrofuturism in the sense that it is science fiction, deals with aliens, set in South Africa and has – absolutely minimal – Black characters – I wouldn’t classify it as such. Or not a good one at least. For starters, the main characters are white (which, okay, the movie being set in South Africa shoulda been my first clue) but even the characters that are Black are either downplayed and belittled or just downright written to be animals. (It makes sense why the depiction of Nigerians in this film was heavily contested).

But it had a lot going for it. It had great action scenes and CGI, and the visuals were super cool and realistic – which actually makes the movie harder to watch. And this is a good thing because it gets people invested in what’s happening! It was also based in a real identifiable place. It was even inspired or based (sorta) by real life places and events. District Six was a real place in South Africa where the effects of apartheid was visible – forcibly removing 60,000 people from their land that was then deemed a white area. The obvious ode to this not only in the name – but in the context of the movie – is absolutely apparent. It was also shot in a really interesting way – meant to be a found footage / documentary styled film and not just a typical, linear, story-telling way. So that was super creative and helped aid the story.

So, what went wrong? It can’t simply be that it had a white director – as there are many films directed / created by white allies in Afrofuturism and in other genres in general. I wouldn’t even say that having minimal Black characters is what makes it bad – as other films like Children of Men have little diversity as well (though, inarguably, the role of the Black character in that film definitely had more weight and merit than any in District 9). But I think the problem with these types of movies where they try to make political or social commentary is that they are done in the limited scope and experiences of the Very White Director™. The story is told through a white lens and – I think – ultimately created for white people. (It reminds me of White Man’s Burden, in this regard).

The main guy starts turning into a lobster – okay not really – he starts developing a claw as he was infected with Alien matter. But he is white. He is human. So, in the beginning, he has privilege, he is the one evicting the aliens – but the second the fellow White Humans notice this, they start to experiment on him. His whiteness does not protect him, and his privilege is gone. He has to escape… and you guessed it – flee to the Aliens he was terrorizing and evicting! And then, ultimately becomes accepted by the Alien community and becomes a white savior.

One of the things – to an extent – that the movie does well is the act of ‘Othering’, but the problem is that it does it for Whiteness and not the othering of Blackness. This is not a Afrofuturism movie or faux documentary about social justice and the effects of apartheid, segregation, or racism, but a film that plays on stereotypes, refuses to have the difficult conversations, refuses to take a stand, and instead plays it safe, comfortable, and far too white.

#the-assignment #homework #ucla #assignment #afrofuturism #district 9 #the more you know

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Blog #4 - Alternate Histories

I think one of the most interesting things to think about – especially when considering an event or certain topic – is what would it be like if it happened another way? The idea of alternate history is so fascinating to me. I first learned about this type of thinking (on an academic level) actually in my Historical and Sociological Methods course. And now it is a theme for this week in my Afrofuturism class.  

The idea can come from a single question or line of thought – what would’ve happened if...? If it happened a different way, if it didn’t happen at all, if it happened to different people or a different country, etc. And it’s really interesting because this can be used to think about anything through a new lens or perspective. It can be used to consider role reversals in terms of race or sex / gender or what if X did/n’t happen. What if Martin Luther King, Jr. wasn’t assassinated? What if it was the Founding Mother's instead of the Founding Fathers and what if Black people were the ones with the power and enslaved white Europeans instead?

And this final question is so fascinating to think about – but is also very complex. Which is why I am very glad that I was able to hear author Steven Barnes talk about this concept when he virtually visited our class to talk about his novel Lions Blood – as well as the concept of alternate histories in general, and how the book came together and came to be. What really caught my attention was Barnes’ attention to detail and the care he put into creating a novel that dealt with alternate histories. It was not a concept that he took lightly – and in fact, he shared a story about not taking an earlier job as he didn’t feel like it would be the best avenue to talk about race reversals beyond easy jokes and tropes – and instead, did 6 years of historical (and slave) research to get it right for the book.

He also had great insight into what goes into making alternate histories that are good, that work, and that are realistic – like only changing one thing and then seeing how that affects – or doesn’t affect – other aspects of the social, political, cultural world around the change, additionally the changed factor should be logical, and it should be a significant change that means something – otherwise the reader wouldn’t really care or follow along.

I thought it was also really critical that Barnes brought attention to how important it is to have a basic understanding of history – to understand what happened and why it did – what aided this event to begin with, etc. – to know the ins and outs of what occurred in order to – and before – you can impactfully change or alter the event in any significant way. Otherwise, it can fall into the trap of stereotypes and tropes, or be illogical, or uncompelling, or just skim the surface.

It’s a good reminder that when creating these alternate histories, that there is a delicate balance of creating entertainment and asking (and answering) hard questions.

#the-assignment #homework #ucla #assignment #steven barnes #tananarive #lions blood #alternate history #race reversal

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Blog #3 - Sorry to Bother You

Sooooo I finally watched the film, Sorry to Bother You by Boots Riley. And I honestly can’t believe I hadn’t seen it before as I absolutely LOVE LaKeith Stanfield and Steven Yeun! And now that I’ve watched it... I have no words?? I mean, I do have words, buuuuut I'm still processing them? Like. I was not​​ expecting what happened to happen. I mean, the whole style and concept of the movie was bananas and the way it was shot and edited together was incredible and insane so I shouldn’t be surprised by the plot twist – that PLOT TWIST – but I still was.

I had no idea what I was getting myself into as I had never seen the ads or trailer for this film. I think I might have heard about it in a vague sorta way – but I never really paid all that much attention to it. Which I think really helped actually because the stylized way it was shot was a nice and unexpected surprise. (Especially in a movie that has such a serious subject matter.)

My first hint that this movie was gonna be messed-up is Cash’s job – PA: If you only get paid by commission – quit. That’s not a thing. That shouldn’t be a thing. Secondly – the White™ voices sent me through the roof. I had never seen this phenomenon done this way before. Where they literally dub over the voices with actual white voices. I thought this was a really fascinating way to show the code-switching many Black people have to do in order to succeed in various industries.

But let’s just talk about the twist, shall we??? Horse Hybrids – and not like Centaurs where it’s halfsies – but like an actual blend of horse and human meant for hard labor – are you kidding me???? Of all the things I was expecting – that never even crossed my mind. I mean, obviously WorryFree was a shady AF business with their crappy contracts indebting people into manual labor for pretty much the rest of their lives. But I was not expecting to find out they were trying to make “Equisapiens” (which sounds just as ridiculous as they look).   

This film has a lot of serious themes that are done in a way that sort of catches the watcher off guard. It deals with assimilation and respectability politics. As well as slavery – because that is exactly what the corporation is really doing. I can see why this film was chosen in my current Afrofuturism class, as its content is definitely Afro-Surrealism and also has aspects of social justice and fighting back and bringing awareness.

I already feel like I need to rewatch it to be honest. I’m not sure if it’s like Get Out or Nope, where the more you watch it, the more you pick up on – but rewatching this movie isn’t something that’s gonna bother me.

#the-assignment #homework #ucla #sorry to bother you

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Blog #2 - Parable of The Sower Prompt

This week for our assignment we were actually given a prompt to follow – which is something new and makes someone like me – who isn’t a very creative person – very anxious. But it was supposed to be a fun assignment, so I tried to let go and not to get too overwhelmed (haha JK I was).

Explain TWO (2) real-life issues that make it necessary to create your Earthseed community. What are you seeking shelter from?

Though there are certainly more than two real-life issues that would make it necessary to create my own version of Earthseed, if I had to narrow it down to only two, it would be the rampant poverty and food insecurity that our current (and historical) landscape is living through in America. As someone who was born into generational poverty (and am working on breaking that cycle – First-Gen College student FTW!) as well as someone who has always struggled to get adequate food and nutrition – both of these sit heavily on my heart.

Quote two (2) Earthseed verses from Parable of the Sower and show how you will apply them to your community. You may be creative in your interpretation.

I think the most famous or quoted verse would apply to my own community:

“All that you touch

You Change.

All that you Change

Changes you.

The only lasting truth

Is Change

(God is change)”

As well as the verse:

“Belief

Initiates and guides action---

Or it does nothing”

I think these both will be incredibly important to my community as the first will be used as an encouragement that things CAN be changed and that you can be changed as well – that that’s the nature of the game. So, especially in terms of poverty and food insecurity (and its cycle), working on the assumption that it can be changed (while not shaming the victims) will be critical.

The second verse will be used as a way, to not just believe that certain things can be challenged and changed (like verse one), but that action needs to be taken as well.

Belief that Change can Happen and the Will and Action for It To, will be how I apply these two verses to my community.

Explain WHERE you will create your Earthseed community to be safe.

In the beginning, my community will be created… in my small studio apartment, I guess. I think it’s a safe and convenient location. I don’t anticipate us all needing to live in the same spot at first – but it’ll be a safe haven and a spot where anyone in our community can stop in. Where anyone can come in and be accepted and safe and welcome. It will be the place that can start us off as we learn and grow together.

Who can join your community and why? Who can’t join? Why not?

Not everyone is invited to my community for obvious safety reasons. For not only physical but emotional and mental safety. Individuals who refuse to see that poverty and poorness and the other symptoms of these things are not because people just “want to be poor” or they believe people are just not working hard enough – are not welcome. Individuals who want to join must believe that poverty, inequity, food scarcity and insecurity are systemic and typically and intentionally affect certain people – like minorities, POC, women, etc. Any individual who believes those things and wants or needs a place that is safe can join as long as they agree to pool resources together (more about this in community survival section).

What will your leadership model be for your community?

I’ve actually taken a few courses at UCLA about this and there are quite a few ways to go about this. And I think I would combine a few. It would be important to have an open forum type of leadership, where everyone has a say and contributes. This will bring about a multitude of different and inventive ideas that may not have been heard otherwise. As well as gaining knowledge and understanding amongst the members of the community – so no one feels left out or unheard. Though we may need to be a democracy where the majority wins on the matters at hand in order to actually make decisions.

Create a FUTURE TECHNOLOGY (one on the horizon, not something like teleportation or time travel) to help improve life at your Earthseed community.

Oh man, this is a tough one. I would say every member would have a small handheld device that’s small enough to carry with you and cleans/purifies water (because the tap water in California is gross) as perhaps nothing is as lifegiving as water. Or something like a small portable greenhouse that can adapt to any needed climate in order to grow food there year-round – no matter the season or weather.

Explain/show how your Earthseed community will SURVIVE.

Well, I think the important part is that we will pool resources together. A person may not be able to survive off what they make/have but with the contribution of multiple people it can be easier. Additionally, those with different experiences will share what they know/have learned – enriching the whole community. It takes a village! As people either move on or away from the community (hopefully passing on what they have learned or shared there to newbies) more individuals will know of our community and can join and/or contribute.

Explain/show what TWO steps your Earthseed community will make to build a better future, i.e. education, housing, conservation, farming, etc.

One way we’ll build a better future is through education – all kinds. There is more than one type of “smarts” and while higher formal education is one way – it’s not the only way. So, sharing street smarts or how to navigate the system or financial literacy or how to plant and care for different types for plants / foods or understand social cues are all types of education that we can use as a stepping stone. (As well as helping individuals who don’t know their options about formal higher education – and having someone like me – who has had to navigate and learn about it on my own – can help them).

Secondly, perhaps we can expand – pool resources as stated above and buy land for housing and farming / food. Being able to grow and have access to our own food (veggies, dairy like milk and eggs, etc.) can not only help feed the community but give skills to individuals so they can have work and also, once well-established we could sell some of the items to help continue to our community and also give some to others in need. I think both these things will help the members of my community make a better future for us and for others.

#ucla #the-assignment #homework #parable of the sower #octavia butler

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Blog #1 - Afrofuturism??

Okay, honestly, straight up. I had no idea what Afrofuturism was and how it related to pretty much anything else. Well, I guess that’s only partly true because while I didn’t know the name or that it was even a “thing,” I definitely enjoyed and consumed Afrofuturistic content – just without knowing it. For example, Black Panther, Kendrick Lamar, and Beyoncé are all Afrofuturistic art/artists that I know and love.

I also didn’t know there are different definitions or various ways different people can classify Afrofuturism – so I really like that it can mean different things to different people. I find that to be super inclusive! In general, I learned that Afrofuturism is more like Black Speculative Arts (as referenced by my professor) and can include Science Fiction, Futurism, Black Futurity, as well as some fantasy elements and even horror. What I personally found really interesting was one of the propellers of creating this type of genre – the aspect of the lack of inclusion often found in mainstream – *ahem* white – futuristic, fantasy, and dystopia films. Like, a lot of those films don’t feature Black people at all (or only briefly or they die) and while I could recognize that obvious lack of representation before, I didn’t really think about the bigger implications.

Like, the actual erasure of Black people in the future. If they are not in most versions or creations of peoples ideas of what the future is – Where are they? What does that say about how people see (or don’t see) them now? What happens to them? What about their future? Where do they belong? What does this exclusion say to them about their role in society? I know many may say it’s not that deep – but isn’t it tho? It’s an interesting train of thought that I have, unfortunately, never considered before in the context of Afrofuturism. And if I’m being honest, I’ll have to admit that stems mostly from me never having to be worried that I wouldn’t see a person like me – a white woman (even if only for the eye candy) – on a screen or in the future. (Though it is also in minor part because I don’t really watch a lot of futuristic / dystopia / utopia films in general).

But this lack of inclusion is what makes Afrofuturism so important and interesting! Because, much like I learned in my last AfAm Studies class about Black horror, this genre too is being reclaimed and rewritten. The idea of an apparently white utopian future is being challenged in really impactful ways and in various artforms – from movies and TV shows, to books and music. It’s been really fun to get introduced to artists I’ve never heard before (like Sun Ra) even if their sound isn’t really my thing. But it’s important to remember that it isn’t so much as whether I like the music or not, but about the way he challenged and changed the sound of music with (mostly) only his keyboard and how his style and imagery has had a lasting impact on musicians I do love – like Janelle Monáe! And now that I know what to look out for, I can see the references and callbacks – like the hooded mirrored faced entities present in both Sun Ra’s music videos and Janelle Monáe’s. I think its good to know what inspired some of my fave works of music and art – and the how and why of its creation.

#the assignment #afrofuturistic #afrofuturism #ucla #homework #tananarive #due #the more you know

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Blog #6 - The Final One

I truly can NOT believe that this is my last (required) blog post for my class, Sunken Place: Racism, Survival, and Black Horror Aesthetic. And I gotta say, my Professor saved the best for last. In Week 10 of our notoriously fast paced quarter terms, we had a Student Showcase of the various final projects us students turned in. Sharing was optional. It was split into two groups on two different days. Tuesday was reserved for showcasing student short films and Thursday was reserved for students to read excerpts of their short stories / essays.

And although Professor Due let us know, right from the get-go back in Week 1, that we were going to be amazed by the talent our fellow students had (and which I totally believed!) I honestly was not prepared for the creative projects the students came up with.

The student films were some of the most inventive, creative, short films I have ever seen. Honestly, truly. There was one about a fashion vampire. Who, while dreaming about her upcoming fashion show walk – actually sleepwalks and attacks people at night – all while being unawares. The film ends with breaking the fourth wall – with the Vampiress looking into the camera, blood and surprise etched on her face, and then quick cut to black. It was phenomenal! It also had really funny but subtle moments, like when she went to bed wearing a Red Cross Blood Drive tee-shirt. It was so good I’m still thinking about it. I think it would make for an interesting mini TV show or something. And the student had no previous writing/director experience – I Just Can’t!

My personal fave (though, my goodness, holy moly, were they all so frickin’ good), was called Black Out. And this was my fave for a variety of reasons – but it had to do with group projects – and every single student who has ever had to do a group project in university knows this is the real struggle and horror of college. It also had to do with racism and the writer/director/actor built their own lore that tied this horror with the horror of racism and the theme of revenge. And again, this was her first time making her own video. It’s. Just. In. Sane.

And we can’t forget the short stories! Holy cow! There was a mix of people that had written before (and even for some TV/Networks, so they had industry experience) but also new writers who had never written a horror short story before (or anything) and/or never read/shared their stories out loud before. And I am so glad that they did! There wasn’t a single story that I didn’t want to read in its entirety. As a voracious reader, I need published versions of these NOW. And again, we had around a handful of students share their stories and there was no overlap of ideas – just like with the short films. There were some common themes, though they were used differently (cautionary tale vs consequences vs historical, etc.), but they were all different. There were (essentially slave) Robots, Creepy Carnivals, Black Holes/The Void and Alternative Timelines, and Historical Horror.

I can not imagine even having an ounce of the creativity, originality, imagination, etc. that these individuals do. My professor was right, though I did not doubt it, I sure as heck did not know how talented these individuals were.

I am honored to have watched these films and heard these stories. I hope that everyone who shared/presented continues writing/directing/acting and most importantly – keep sharing.

One of the biggest takeaways of this class – especially as we near the end – is the state of Black Horror and its Future. Black Horror has come a long way – especially with the help of Jordan Peele and the massive success of Get Out, as many artists were inspired by this. TV show/film/novels, etc. would not have been able to be created without this piece of Black Horror genius. Not only is this now a major revenue producing genre of the industry but there are more and more marginalized voices reclaiming Blackness and Horror and the way they relate to each other.

Black Horror is in its Renaissance Era.

And if the voices of the videos I watched and the stories I heard this week are any indication of the future of Black Horror – there is nothing to fear.

#the assignment #the sunken place #blog #the more you know #ucla #homework #final #Black Horror #horror noire #group project #tananarive #jordan peele

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Blog #5 - The Lake

I think one of the things that kept me from watching horror or “scary” movies until now, is my (in some cases) misconception about what horror movies actually are or what they could be. I thought it has always been about these types of movies being visually bloody and gory and killing any and every minority that comes on the screen. I thought it was just about the kill count and dying in the most violent and grotesque way possible. But the more exposed I am to different black horror films, I see that this is not always the case. There can be nuance to horror. And not just pretend “elevated” horror or “artistic horror” which is sometimes just straight up torture porn. Or just absolutely, disgustingly, gross in general (like Human Centipede or Hostel).

But when done correctly, everyday life and experiences can easily become horror. Or regular people can easily become the horror. I recognized this when I first watched Eve’s Bayou (which I’ve previously discussed) where the horror is created by the breakdown of a family and the traumatic consequences of the fathers’ actions – even the magical element in the film isn’t the scariest part of the film.

This idea – that regular people can be the monster and the horror – was reaffirmed in a short story called The Lake by Tananarive Due, which tells the story of Abbie LeFleur who moves to a small town called Graceville for a new teaching job – where she impulsively buys an old-fixer upper house residing near a lake. She spends a lot of time in the lake even though she has always thought of herself as a “land person.” The audience, at first, does not know Abbie’s deal, but it is eventually evident in her description of her young teenage students – especially the young boys – that something is off about her. Her body also starts to develop changes – like webbed feet, rashes that turn into scaley skin, gills around her ribs, and most notable, a hunger for raw meat. Not to mention her new appetite is insatiable. During this time, she starts having a young boy – only 15 – come to her house to help her fix things around it for $10 a day. He brings his even younger cousin with him.

However, the changes to Abbie’s body become increasingly harder to ignore and resist. She spends most of her free time (even in her “dreams”) in the lake which continues her change. Until one final hot, hot, summer day in Graceville, she finally succumbs to her transformation – killing and eating the two young boys.

While there’s nothing too graphic or excessively detailed – the audience understands this a horror story. And again, this is a very different horror experience than I previously thought possible. Because this wasn’t excessive violence in the name of “horror” or “art” or just plain “entertainment.”

And I think this important – especially in Black horror – that the monster and horror is not slavery or racism, but just a regular person – she is a Black woman, and she is human. Furthermore, it offers a social commentary aspect that I don’t think we as a society talk about enough – the protection of our young Black boys. This story shows that women are just as capable of being predators and monsters then men are. In fact, one of the characters, Abbie’s BFF, Mary-Kay, is in reference to Mary Kay Letourneau – the teacher that seduced, r*ped (let’s call a spade a spade), and later married, her young male student.

The horror in The Lake is representative of the hidden monsters inside all of us. The secrets and darkness and appetites that we keep hidden. I think it’s also a cautionary tale – a warning that these urges may be suppressed for a while – but our inner monster will not be hidden nor sated for long.

#the-assignment #blog #horror #black horror #eves bayou #the lake #tananarive #ucla #homework

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Blog #4 : Eve's Bayou

I don’t think that a lot of people would consider Eve’s Bayou a horror film – but I would whole-heartedly disagree. It’s just a different version of horror. It’s not blood or gore or jump scares or a mystical entity coming to kill everyone in their sleep, or wielding a chainsaw, or a knife – but it is, without a doubt, horror.

It’s everyday horror. It’s the horror of lost innocence, and the horror of growing too fast into womanhood, the horror of a breakdown of a family – the horror of decisions and consequences.

For starters, the father (Samuel L. Jackson) is truly terrible and the real monster and horror in this film. Dude is legit just cheating in plain sight! There is no masking what is going on from the get-go. The opening party scene and the wildin’ dancing he was doing with another man’s wife – in front of his *own* wife. And friends. And Family. It was nuts.

Then cut to the scene where he gets caught by his youngest daughter actually cheating with the other woman and you understand just what this character is about. Add that into the various ways in which he ropes in or disregards his family while he’s cheating. Like again, leaving the youngest daughter in the car! All while he makes “house calls” to the ladies of the community – and we be knowin’ what they be doin’.

Like. He’s truly terrible. And I think this behavior sets the tone and propels the events of the story forward.

The catalyst of the story, is to an extent, left ambiguous. What we know for sure is that there is a kiss between the father and daughter (super gross). (Not to mention the behind-the-scenes grossness that at the time of filming, Meagan Good was only, like, 14 and Samuel L. Jackson… was not). The audience is given two different version of events about what occurred – that of the daughter (he kissed her) and that of the father (she kissed him). And while there are certain clues throughout the movie that could aid or guide a person to think one way or the other, it is left to the viewers to decide which version they agree with.

But to that I say – it doesn’t really matter who kissed who – because who initiated the kiss is not the same as who is at fault for the kiss. And there is a difference.

The father was 100% at fault for that kiss. Part of the great discussion we had in class about this film centered around the idea that he was pulling away from the family at the same time as the oldest child and daughter began to mature into womanhood. We see this throughout the film from the first scene where she wanted to differentiate herself from the others, her getting her first period, and when she started to change her look and wear makeup.

I felt like this transformation of the daughter – while a normal part of growing up – morphed into something truly horrifying. A young girl in a rush to grow up and who would do anything to keep her father and her family together.

And this event transformed the lives of the entire family. The oldest daughter was sent away and the father died. However, the youngest daughter – only ten years old – believes that the magic she performed to get back at her father (as she believed her sister) killed him – forever changing her life as well.

While the movie was not a typical horror / slasher fic – it shows that true horror can exist in the daily lives and decisions each one of us faces – and has the ability to affect those around us as well. It shows the horror of the loss of innocence and growing up too fast.

#the-assignment #homework #ucla #blog #horror #horror niore #eves bayou

[the-assignment]

Blog #3 - Candyman 🙄

I wasn’t sure what to expect when I found out that we were watching both the original and the 2020 version(s) of Candyman – Candymen? Oh, whatever – for this weeks class.

But I quickly discovered that my major issue is definitely with the original Candyman. And for a lotta reasons.

Full disclosure: I don’t quite remember how or why, but I do know I watched the original Candyman when I was younger – even though I was not a fan of scary movies. It could have been because that was the only thing on TV that looked sorta interesting, and I didn’t realize it was a horror film until too late, or it could’ve been because my older sister has always loved horror films and making me watch them. I.e., she loves scar(r)ing me. (I’m gonna go with that.)

But re-watching it – though I would say this is my first real time watching the 1992 version of Candyman – was WILD. I don’t know if I’m just “grown up” now and have a different view and perspective of the world, if I’m more formally and informally educated about issues, if I’m more aware of issues surrounding race and culture and problematic themes, or all the above – but my goodness was this movie incredibly problematic and frustrating.

One of my favorite parts of the class that I am taking is talking about tropes and themes. Not only those in individual movies but across movie genres as well. So, to understand and recognize that a major theme of Black trauma and Black pain is being done through a white lens, is upsetting. To see Black bodies being used as mere props in a movie where it literally makes no sense to do so, is ridiculous.

Mostly, I straight up don’t understand how Helen is supposed to be the protagonist in this?? I am honestly, genuinely, perplexed. The entire movie just makes me dislike her more and more. And yet, disliking her isn’t the point of the film. The subplot and subcontext of the film is supposed to make you feel for her and fear for her. And that isn’t what I was doing.

I was thrown off by how privileged and almost arrogant she seemed. Like she was entitled to people’s help and assistance, stories, and pain. Especially, and entirely of Black people’s help, assistance, stories, and pain. She exploited the little Black boy who she had show her around – never once to stop and think about why he was alone – where his family or his mother was. Did she just assume that it’s “normal” for Black kids to be away from their mothers in “that” type of neighborhood. Wouldn’t you want to shield a child away from some of the things and themes she was exploring??

Also, the way she spoke to people! The scene where she’s asking the janitor questions about what happened and about the legend and myth of Candyman, etc. and she automatically thinks they should / will / need to help her. No pleasantries. No, “do you have a minute” – Nothing. The privilege is unreal.

Additionally, her best friend, who is – shocker – Black, dies! Even though she doesn’t say “Candyman” five times – Helen does! Where is the logic?

Where is the justice?!

Make it make sense!

I just don’t get how or why we are supposed to feel sorry for a privileged white woman who goes on a “Slum Safari” with no concern for the people and stories and pain that she’s using / exploiting / bringing along with her.

And then to make her the literal white savior at the end – Ugh. I. Can’t. Even.

It really shows that the concern was never about telling the story of a (understandably) vengeful (Though! To! The! Wrong! People!) black man that was a victim of racism (and therefore having to address the history of racism)' but about making a story that reaffirms white people’s perceptions - I.e., fear - of Blackness.

And I for one am glad that movie and iconic character has been reclaimed.

#the assignment #the-assignment #ucla #homework #candyman #horror #horror noire

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Blog #2 - Race in Get Out & Us

**Spoilers ahead for scenes and plot points in Get Out and Us**

One of the biggest takeaways that I’ve seen in the evolution of Jordan Peele’s films thus far – Get Out and Us – is the intentional Blackness and the subject of race presented throughout both movies – but in entirely different and equally interesting ways.

For example, in Get Out – Race (and racism) are undeniably at the forefront of the movie. It is the catalyst and the vehicle in which the film and plot moves forward, reaches the climax, and ends. From the very beginning, you see a young black man lost and walking down the street of a white, suburban, middle class-esque area. He is then briefly followed by a white car and a full-face helmet clad assailant attacks him, knocks him out, and shoves him in the trunk of his car. Driving off to God knows where while “Run Rabbit Run” plays in the background.

The movie then cuts to Rose and Chris – a young white woman and a young black man in a relationship. At the start, we as the audience can feel tension and hesitance coming from Chris, and the first conversation that we hear, is that Chris is meeting Rose's family for the very first time and he’s worried because she hasn’t told them he’s Black. And right there. Race front in center. Not only prominently in both the characters but the possible consequences of race.

Fast forward through a racially charged interaction with a white police officer – which, no one these days has to only imagine – almost all of us has seen videos – that only gets distinguished because Rose uses her whiteness and her femaleness to thwart the situation. (And almost everyone watching the scene unfold knows that if a Black person tried pulling what she did, they’d be dead or beaten).

I’m not going to rehash every single encounter – either the subtle, “atta boy’s” / “my man’s”, “I’d vote for Obama a third time if I could’s” or the more obvious, like the entire dinner scene conversation – that was race related in some way or another.  

But the awkwardest party in ALL of history… the “BINGO,” the Coagula experiment (the reasons for it!!!), the interactions between Chris and the other Black bodies, the relationship between Chris and Rod, etc. etc., etc.

All of these things directly reflected the idea of race and racism. That, in my opinion, was the point and emphasis on the film. It showed that “well-meaning” and “appreciative” white people are still (and maybe even more) dangerous. That race and racism is not dead – whether people believe it is or not.

Us takes race and Blackness in a completely different approach. Race, racism, white privilege, etc. is not directly the point of the film. Overt racism is not the culprit or antagonist like it was in Get Out.

However, intentional Blackness is still prevalent throughout the film. The main characters consist of a Black family – the Wilsons (shout out to Lupita’s natural hairstyle on the big screen and in a major movie!!) who seem to have reached some levels of success and financial security – enough so that they were able to buy a beach house. And although this is where their terror begins, it is not my main point. Throughout the film the characters being Black is not mentioned / not the point of the film. We simply see Black characters living their lives and a family vacationing during the summer.

However, in some cases it is the microaggressions and the “out of placeness” experienced by the family that highlights their very Blackness.

The family beach scene for example – where they are literally the only Black people on the beach. Additionally, Zora doesn’t get in the water like the other girls her age. The answer to why that is is obvious to any person who also has this consideration – her hair. She wasn’t going to get her unnaturally straight and styled hair wet. (I also thought about the historical significance: the dislike / aversion to swimming / the water is based heavily in slavery and racism – where whites even through acid into pools used by Blacks). The point is, that although race wasn’t said, it was shown.

Just like it was shown when the dad bought a beat-up boat (with no boating experience whatsoever) because he wanted to keep up with their richer (and white) family friends – even though the boat is old and worn.

Just like the dad’s Howard University sweatshirt.

Just like Zora didn’t hesitate to grab the bat – knew exactly where it was and instantly grabbed it when her dad actually asked the son to. (And just like there was no hesitance to use it later when she needed to!)

Just like the dad changes the way he speaks to the unwelcomed newcomers when he’s trying to intimidate them – switching from the polite (white approved) approach he started with, into typical AAVE, complete with a bat when they weren’t listening.

Just like when their white family friends are killed – the first thing the kids ask if whether their car is theirs now.

In Us, it felt like it was showing that while this Black family was inside society, they still weren’t fully a part of society. Their house, car, boat, etc. were smaller than others’ and it was noticeable. They were the only Black people there. They didn’t do the things the others did. Didn’t have the things they did. Etc. And they were still trying to keep up.

But, they were the only ones who had the preparedness and survival mindset and instincts that allowed them to win.

They were the only ones who survived.

So, while Us wasn’t about race, it still was about race.

#blog #assignment #the-assignment #get out #getout #us #jordan peele #ucla #homework

[the-assignment]

Blog #1 : Get Out(ta Here With Those Whack Tropes...)

**Spoiler free** (Though with some allusions)

TIL: I’ve been living under a rock.

No, seriously. I’m not kidding.

Case In Point: I’ve just recently (ahem *finally*) watched Jordan Peele’s contributions to the black horror genre. And I know what you’re thinking: No Way! Get Out. (wink wink)

But my answer, to a completely understandable reaction, is to say: Yes Way. And Nope. (I know, okaaay).

To my own credit, I have never been a fan of the horror genre and I am even newer to the idea of the black horror aesthetic / genre. I hate – what I find to be – absolutely ridiculous and unnecessary amounts of violence and blood for no other reason than to be gross and vulgar and “shocking.” And the characterization! Even as someone who doesn’t really watch “scary” movies, I know the usual character tropes – and even the order in which they typically die. You have the token minority, the hot/slutty girl, the dumb jock, the nice girl/guy next door, the stoner, and the Final Girl (typically AKA the Virgin). It’s usually full of (mostly) dumb people making dumb choices that get them killed even faster. And if I wanted to watch stupid people, doing and saying stupid things, I’d watch Fox News. 

However, I was completely unprepared for the mind and horror artistry of Mr. Peele. Even as a longtime fan of his comedy work, I never even considered watching his movies that were categorized to be in the horror field. Because I am a giant baby. With a good memory. Who doesn’t easily forget the things she sees. As such, I’m naturally very protective about the things I watch and invest my time and energy into (which more people should be as well – but that’s a whole other post).

My first foray into Peele’s work could not have started any other way – through the absolute and instant classic, Get Out. Yes, the Get Out. Yes, that Get Out. The one that was released waaaaay back in 2.0.1.7. And thanks to my dedication to avoid anything I don’t like, and apparently the way everybody – especially those in the US (sorry not sorry) were able to keep the big plot points and the twists under wraps, I had no idea of what to expect. And boy did that pay off.

In my opinion, one of the most exciting and interesting parts of Get Out is the complete breaking of not only typical horror tropes, but that of black horror tropes as well. As previously mentioned, films have tropes that they typically follow, and which viewers expect to see. Black characters in these horror films are no exception – they just have their owns set of rules and uses they have to fall into for no other reason than to serve the white characters.

Black people in horror films almost always fall into the four tropes:

the Spiritual Guide,

the Magical Negro,

the First to Die,

and the Sacrificial Negro.

We see these tropes in many well-known and “classic” horror films: The Shining, Jeepers Creepers, Annabelle… the list continues. Even in a modern and (arguably) progressive society – these tropes are consistent and prevailing. (The Walking Dead and Fear of The Walking Dead: We see those racial biases and microaggressions, baby. You ain’t fooling anyone).

So, what makes Peele’s Get Out different? And why does it matter?

And the answer is as long as it is varied. Which is why I’ll focus on only one aspect – that Chris (the protagonist of the film) a young, black man, does **NOT** fall into any of those tropes. That’s right! There is at least one movie out there where a black man is not sacrificed (willingly or not) for the white character, or magical, or used to guide other people, nor does he die first!

Not only that – but he breaks the general horror movie trope by making freakin’ smart choices. And while, like much in real life, there’s a moment in one of the most pivotal scenes (the keys scene, everyone. Hellooooo) where it seems he made a “stupid choice” – I would argue there was really no other way around it. What was done was already done and in motion – he couldn’t have stopped it at that point anyways. (Also, let’s not pretend that, “Where are the keys, Rose??!” was him actually asking about the keys….)

I think the importance of Get Out (and Jordan Peele) can be explored and discussed many times without ever coming to an end. That’s the beauty, the intelligence, the consequences, and the movement of creating a piece of work that is meant to challenge and reclaim these ridiculous stereotypes and tropes imposed on black characters in films for the benefit of white people.

And much like Chris, I hope these tropes in film just…

Get Out.

#assignment #getout #ucla #jordan peele #the-assignment #blog #tropes #get out #the more you know #horror #black horror #homework

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The Assignment Assigned

This blog will be dedicated to my African American studies course at UCLA, aptly titled: The Sunken Place: Racism, Survival, and Black Horror Aesthetic

We were assigned the following task: to write a blog post (400 words or more) that explores the various aspects of black horror - it can be a critique, argument, explanation, exploration, a review, or just random thoughts that correlate to our class readings, viewings, and discussion sections. It can be as informal or formal as we'd like. The point is to engage with the themes and ideas throughout the course and to, hopefully, inspire us for our final projects.

We get extra credit for publishing them online in the public sphere.

So, I will be using this space as a diary of sorts that documents my entry into the black horror genre... All from the perspective of someone who has never particularly enjoyed horror films. yikes.

Welcome to The Sunken Place.

#aboutme #ucla #assignment #getout #jordan peele #black horror #the sunken place #the-assignment #homework #horror #get out #us #nope