WIN TICKETS TO “BLACK HORROR: THE REVOLUTIONARY ACT OF SUBVERTING THE WHITE GAZE at Miskatonic buy levitra online viagra NYC!

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Our sister organization The Miskatonic Institute of Horror Studies (now with branches in London and New York) is celebrating Black History Month with a highly anticipated class on Black Horror on Tuesday levitra prescription February 13th, led by instructor Dianca London Potts. (See the full description below)

For a chance to win two tickets to the class, email miskatonic.london@gmail.com before Friday February 2nd at 5pm EST  with the subject line “Black Horror” and you’ll be entered into a draw, the winners of which will be notified and posted here on Monday February 5th.

For anyone who wishes to purchase tickets ($12 advance / $15 door) you can do so HERE >>

From the Miskatonic NYC website:

“From Spencer Williams’ Son of Ingagi to Jordan Peele’s Get Out, the cinematic screen has consistently served as a site of subversion for filmmakers of the African diaspora. Through the camera’s lens, tales of hauntings, demonic possession, vampirism, and hoodoo rituals gone awry have become a celluloid metaphor for colonization and racism’s toll on the Black psyche. Within this space, expressions of Black embodiment and the Black experience are momentarily freed from the limitations the white gaze. The narrative shifts, allowing for the complexity and viagra professional scam depth of Black identity and its subsequent anxieties, fears, and vulnerabilities to be examined outside the constraints of traditional tropes.

Whether it’s Blaxploitation classics like Blacula and Sugar Hill, or successors like Spike Lee’s Da Sweet Blood of Jesus and the aforementioned Get Out, Black horror films are a historically visual mode of resistance within a pervasively supremacist culture. Rather buy viagra fed ex than being sacrificial lambs, wise sages, or saviors to non-POC protagonists, Black characters within this context determine their goals and desires in opposition to whiteness rather than their proximity to it.  William Crain’s Prince Mamuwalde becomes the immortal Blacula, Ben — the sole Black character depicted in George Romero’s cult classic Night of the Living Dead —becomes a hero. Jordan Peele’s Chris becomes a survivor. Within soft viagra this narrative context, the off-screen script is flipped. The marginalized aren’t merely centered, they’re canonized.

This multimedia presentation will offer an immersive thematic overview of Black horror narratives while highlighting noteworthy films within the genre spanning the early 1900s to modern day. Select films will be paired with excerpts of literary, sociological, and philosophical texts to enhance students understanding of the cinematic genre and its radical roots. Through visual, cultural, and historical exploration, this presentation aims to examine and foster dialogue about what happens when subjection is subverted and what stories can be told when the white gaze is decentered.”

About the Instructor:

Dianca London Potts earned her MFA in fiction from The New School. She is a Kimbilio Fiction Fellow, a VONA Voices alumna, and the online editor of Well-Read Black Girl. Her words have been featured in Lenny Letter, The Village Voice, Vice, and elsewhere. Her memoir, Planning for the Apocalypse, is forthcoming from 37 Ink. She currently works and resides in Brooklyn. You can follow her musings on Twitter via @diancalondon.

 

About the author:

Kier-La Janisse

Kier-La Janisse is a film writer and programmer, founder of Spectacular Optical Publications and The Miskatonic Institute of Horror Studies. She has been a programmer for the Alamo Drafthouse Cinema and Fantastic Fest in Austin, Texas, co-founded Montreal microcinema Blue Sunshine, founded the CineMuerte Horror Film Festival (1999-2005) in Vancouver, was the Festival Director of Monster Fest in Melbourne, Australia and was the subject of the documentary Celluloid Horror (2005). She is the author of A Violent Professional: The Films of Luciano Rossi (FAB Press, 2007) and House of Psychotic Women: An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films (FAB Press, 2012) and contributed to Destroy All Movies!! The Complete Guide to Punks on Film (Fantagraphics, 2011), Recovering 1940s Horror: Traces of a Lost Decade (Lexington, 2014) The Canadian Horror Film: Terror of the Soul (University of Toronto Press, 2015) and We Are the Martians: The Legacy of Nigel Kneale (PS Press, 2017). She co-edited (with Paul Corupe) and published the anthology books KID POWER! (2014), Satanic Panic: Pop-Cultural Paranoia in the 1980s (2015), Lost Girls: The Phantasmagorical Cinema of Jean Rollin (2017) and Yuletide Terror: Christmas Horror on Film and Television (2017). She edited the book Warped & Faded: Weird Wednesday and the Birth of the American Genre Film Archive (forthcoming), and is currently co-authoring (with Amy Searles) the book ‘Unhealthy and Aberrant’: Depictions of Horror Fandom in Film and Television and co-curating (with Clint Enns) an anthology book on the films of Robert Downey, Sr., as well as writing a monograph about Monte Hellman’s Cockfighter. She was a producer on Mike Malloy’s Eurocrime: the Italian Cop and Gangster Films That Ruled the ’70s and Sean Hogan’s We Always Find Ourselves in the Sea and her first film as director/producer, Woodlands Dark and Days Bewitched: A History of Folk Horror is due out from Severin Films in 2020.

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