Occult films often depict dark forces linked to marginalized groups, perpetuating stereotypes and fears. In Chicago, a city known for its segregation, horror movies often associate evil with Black individuals. However, this association is sometimes implicit, with Black characters playing minor roles while embodying racist anxieties.
For example, the 1978 horror movie “Damien: Omen II” is set in Chicago and follows the story of a wealthy white family who unwittingly adopts the antichrist. While the film features a few Black characters, they are peripheral and serve to underscore the racial dynamics at play. A Black doctor’s investigation into Damien’s origins ends tragically, highlighting the dangers of delving into the unknown.
Another Chicago-based horror film, “Child’s Play” from 1988, explores similar themes of youth rebellion and black magic. The protagonist, Andy, is tempted by a possessed doll controlled by a Black practitioner of vodun, perpetuating fears of Black influence on white children. The film’s narrative reflects societal anxieties about race and power dynamics.
In contrast, “Candyman” (1992) stands out for its portrayal of Black characters in a more prominent light, set against the backdrop of Cabrini-Green. The titular character, a vengeful spirit, embodies the legacy of racial violence and forbidden love. Unlike other occult films, “Candyman” offers a more nuanced exploration of race and identity.
Overall, these films underscore deep-seated fears about youth rebellion, racial mixing, and the erosion of white authority. By portraying Blackness as a source of evil or danger, these movies tap into societal anxieties and prejudices. The intersection of race, power, and supernatural forces creates a potent narrative that resonates with audiences, reflecting broader cultural tensions and fears. As we continue to grapple with issues of race and representation, these films serve as a reminder of the complex dynamics at play in our society.
