Location: Lunds University LUX B 336 from 17.00-19.15 (Helgonavägen 3, 223 62 Lund)
Open for everyone

We are happy to introduce Dianca London Potts from Miskatonic Insiture of Horror Studies.

Dianca earned her MFA in fiction from The New School. She is the online editor of Well-Read Black Girl and her words have been featured in Lenny Letter, The Village Voice and Vice.

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 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, or successors like Spike Lee’s Da Sweet Blood of Jesus, Black horror films are a historically visual mode of resistance within a pervasively supremacist culture. Rather 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. Within 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.


The talk will be followed by the screenings of Number 37 and The Tokoloshe get your tickets to the screenings here: