Afrofuturism, Horror, and the Persistent Specter of Social Death: Exploring Black Experiences Beyond Slavery

• Afrofuturism is a cultural and artistic movement that envisions the future through the lens of the African diaspora, blending elements of science fiction, fantasy, and African mythology. This movement not only serves as a powerful tool for imagining alternative futures but also addresses the historical and ongoing struggles of black individuals, particularly in the context of social death—the process of societal exclusion and dehumanization. In the realm of horror, the treatment of black characters often reflects and reinforces these social dynamics, perpetuating narratives that extend the horrors of slavery into contemporary settings.

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LoveCraft Country

"Lovecraft Country," inspired by the works of H.P. Lovecraft, reclaims the cosmic horror genre by centering black protagonists in a narrative that confronts both supernatural terrors and the horrors of systemic racism.

Lovecraft Country also delves in the realm of Afrofuturism. For example in Episode 7, titled “I Am, Hippolyta explores different dimensions and timelines through a portal. The scene embraces Afrofuturism by presenting a vibrant and empowering vision of the future, breaking away from the historical contstraints and racial oppression of the past.

• https://www.youtube.com/watch?v=hd3t2GYxSBE

The Concept of Social Death�

• Social death, a term coined by sociologist Orlando Patterson, describes the stripping away of social and political rights, rendering an individual a non-person within society. This concept, rooted in historical contexts such as slavery, manifests in various forms throughout history, impacting black communities in systemic ways. Afrofuturism often engages with the idea of social death, exploring how futuristic settings can challenge or perpetuate these dynamics.

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Get Out

“Get Out,” directed by Jordan Peele represents the concept of social death through its exploration of racism. The film follows Chris Washington, a Black photographer, as he visits his white girlfriend’s family, As the plot unfolds, it becomes apparent that the family is involved in a conspiracy to transplant the consciousness of older white people into the bodies of young, healthy black people. This practice symbolizes the commodification of black bodies, reducing them to the vessels for the privileged whites to inhabit. The film’s central metaphor, the “sunken place”, captures the psychological aspect of social death. When Chris is hypnotized, he experiences a nightmarish, isolated mental state. The metaphor shows the dehumanization imposed upon black people by a society that objectifies them. The film serves as a exploration of social death, shedding light on the insidious ways racism can strip us of agency, identity, and humanity.

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• The auction in the film, “Get Out”is a great example of social death in the film because it emphasizes the dehumanizing aspects of racism reducing individuals to objects for others’ amusement. Chris is reflecting a form of social death as he is marginalized and trapped in a subservient state.
• (7) Get Out (2017) 4k - Auction Scene | Movieclips - YouTube

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• The treatment of Black characters in horror often reflects the concept of death, reflecting broader societal attitudes and inequalities. Historically, horror narratives have eternalized harmful stereotypes, portraying Black characters as expendable and reinforcing negative racial tropes. By subjecting them to violence or jeopardy without giving the chance of agency or complexity, these portrayals contribute to their symbolic social death within the narrative. The genre sometimes becomes a reflection of the real-world social dynamics where systemic racism marginalizes and disregards Black lives. Addressing this issue requires a shift in storytelling that not only acknowledges the historical context but also strives for nuanced and authentic representations, granting Black characters the humanity and resilience often denied to them in traditional horror narratives.

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Black Horror vs. Black in Horror

• “Black Horror” are films that emerge from the creative vision of Black filmmakers and often delve into cultural, historical, and racial aspects of the African diaspora. An example of black horror is the film “Tales from the Hood” (1995), directed by Rusty Cundieff. This anthology horror film uses the framing of three drug dealers encountering a funeral director who tells four tales. The narratives within the film address issues such as police brutality, racism, and systemic oppression, offering a blend of horror and social commentary. By infusing elements of folklore, urban legends, and Black experiences, Cundieff provides a contribution to the black horror genre, using the medium to explore the complexities of race in America.

• “Blacks in horror” refers to the representation of Black characters with horror narratives, irrespective of the filmmaker’s racial background. An example of this is the character Ben in George A. Romero’s “Night of the Living Dead” (1968). Portrayed by Duane Jones, Ben is a protagonist in a zombie apocaly[se. However, despite his leadership and survival skills, the gilm concludes with Ben being mistakenly shot by a rescue party. This conclusion inadvertently reinforces the tragic fate often assigned to Black characters in early horror films, emphasizing the need for a more nuanced and empowering portrayal of Blacks in the horror genre.

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Afrofuturism and Horror

• Afrofuturism and horror, when combined, provide a lens through which to examine the complex relationship between the treatment of black individuals in society and the specter of social death. By exploring alternative futures and confronting historical traumas, these narratives contribute to a broader conversation about the ongoing struggle for black empowerment and the importance of reshaping the narratives that define the black experience.

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