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The Black Guy Dies First: Black Horror Cinema from Fodder to Oscar
A definitive and surprising exploration of the history of Black horror films, after the rising success of Get Out, Candyman, and Lovecraft Country from creators behind the acclaimed documentary, Horror Noire.
The Black Guy Dies First explores the Black journey in modern horror cinema, from the fodder epitomized by Spider Baby to the Oscar-winning cinematic heights of Get Out and beyond. This eye-opening book delves into the themes, tropes, and traits that have come to characterize Black roles in horror since 1968, a year in which race made national headlines in iconic moments from the enactment of the 1968 Civil Rights Act and Martin Luther King Jr.’s assassination in April. This timely book is a must-read for cinema and horror fans alike.
The Black Guy Dies First explores the Black journey in modern horror cinema, from the fodder epitomized by Spider Baby to the Oscar-winning cinematic heights of Get Out and beyond. This eye-opening book delves into the themes, tropes, and traits that have come to characterize Black roles in horror since 1968, a year in which race made national headlines in iconic moments from the enactment of the 1968 Civil Rights Act and Martin Luther King Jr.’s assassination in April. This timely book is a must-read for cinema and horror fans alike.
327 pages, Kindle Edition
First published February 7, 2023
153 people are currently reading
14997 people want to read
About the author
Robin R. Means Coleman
12 books30 followersDr. Robin R. Means Coleman is Northwestern’s vice president and associate provost for diversity and inclusion. An internationally prominent and award-winning scholar, Dr. Coleman’s work focuses on media studies and the cultural politics of Blackness
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Displaying 1 - 30 of 410 reviews
January 30, 2025
**4.5-stars rounded up**
The Black Guy Dies First: Black Horror Cinema from Fodder to Oscar is exactly what the title describes, an examination of the role of Black actors and characters in Horror cinema, from the dawn of cinema through the present day.
Upon starting this book I was immediately taken with the humor of the authors. While the topic they are tackling is important and worth examination, they present it in a way that makes it fun and engaging. You're learning so much, but it doesn't feel like a chore. Win!
It was so interesting to tackle each section that the authors covered. It really took you through every aspect of Black Horror. They also included so many examples of the films that they felt exemplified the different topics/influences/aspects they were discussing.
It would be interesting to rewatch some of the films mentioned keeping in mind things that I learned from this book. I wish there were a complete list of every title they mentioned. I would love to watch them all.
Overall, I think this is an informative, fun and engaging piece of nonfiction. I loved the way the authors chose to present the information by using humor, honesty and a conversational narrative style. I feel like it makes it so much more appealing to a larger audience that way.
I would definitely recommend this one to any fan of Horror, or the history of Horror cinema in particular.
Thank you so much to the publisher, Gallery / Saga Press, for providing me with a copy to read and review. I was fascinated by this and am so glad that I picked it up!
The Black Guy Dies First: Black Horror Cinema from Fodder to Oscar is exactly what the title describes, an examination of the role of Black actors and characters in Horror cinema, from the dawn of cinema through the present day.
Upon starting this book I was immediately taken with the humor of the authors. While the topic they are tackling is important and worth examination, they present it in a way that makes it fun and engaging. You're learning so much, but it doesn't feel like a chore. Win!
It was so interesting to tackle each section that the authors covered. It really took you through every aspect of Black Horror. They also included so many examples of the films that they felt exemplified the different topics/influences/aspects they were discussing.
It would be interesting to rewatch some of the films mentioned keeping in mind things that I learned from this book. I wish there were a complete list of every title they mentioned. I would love to watch them all.
Overall, I think this is an informative, fun and engaging piece of nonfiction. I loved the way the authors chose to present the information by using humor, honesty and a conversational narrative style. I feel like it makes it so much more appealing to a larger audience that way.
I would definitely recommend this one to any fan of Horror, or the history of Horror cinema in particular.
Thank you so much to the publisher, Gallery / Saga Press, for providing me with a copy to read and review. I was fascinated by this and am so glad that I picked it up!
June 23, 2023
This book did an excellent job of describing and analyzing the many anti-Black portrayals of Black people in horror films. The authors highlighted many of the stereotypical roles Black folks are forced to in this film genre, including but not limited to the spook, the witch doctor, the magical n****, the sidekick, the person who gets killed off first, and more. They named how anti-Blackness intersects with other forms of oppression such as sexism and homophobia. I also enjoyed the humor they sprinkled in throughout the book to add some levity without sacrificing the gravity of the issues they raise. I think The Black Guys Dies First got a little repetitive by the end, though I’d still recommend it for those interested given the importance of deconstructing racism both in the media we consume and in the real world.
One point in particular I appreciated the authors making is that there are so few Black gay characters in romantic relationships with other Black gay characters in the film – the authors make the astute observation that perhaps queerness is only tolerated when it’s paired with a non-Black (from what I’ve seen, primarily white) love interest. I see this in a lot of media, like for Asian Americans how oftentimes we’re only allowed to shine if we’re paired with a white person, which like… can we please promote Asian love and other forms of love that don’t need to center whiteness! Thank you for your consideration, @ people who have power in media industries.
One point in particular I appreciated the authors making is that there are so few Black gay characters in romantic relationships with other Black gay characters in the film – the authors make the astute observation that perhaps queerness is only tolerated when it’s paired with a non-Black (from what I’ve seen, primarily white) love interest. I see this in a lot of media, like for Asian Americans how oftentimes we’re only allowed to shine if we’re paired with a white person, which like… can we please promote Asian love and other forms of love that don’t need to center whiteness! Thank you for your consideration, @ people who have power in media industries.
October 24, 2023
A comprehensive look at the history of Black horror films and modern horror cinema. We learn about the different stereotypes that roles in films and shows put black actors/characters into as well as themes tropes and traits.
I very much enjoyed this book, listening was a bit odd because there were several points at which titles of films and dates are listed for quite a long time. I also am giving this book an extra star because the authors shaded Kenya Moore in the book and as a Real Housewives fan I was dying laughing while listening.
I very much enjoyed this book, listening was a bit odd because there were several points at which titles of films and dates are listed for quite a long time. I also am giving this book an extra star because the authors shaded Kenya Moore in the book and as a Real Housewives fan I was dying laughing while listening.
February 27, 2023
I'm not really a horror girlie, but I do like learning new things, particularly if what I'm learning is in some way related to the history of the entertainment history. I definitely had that here. Really the only reason I didn't enjoy this nearly as much as I could have were the copious listicles that were included. Sometimes they were formated in interesting ways to drive home a point that had been made in the examination of whatever we were talking about before we broke into the listicle, but other times they seemed to appear to pad the book and not really offer anything more than a plot synopsis. It was often when the listicles appeared that I started to question the particular format that I was reading. If the same content had been presented in a podcast, and those same lists had just been a cohost rattling off examples that illustrated their point, or if the authors hadn't been so invested in making sure that the non horror girlies like me understood so much why a particular movie was an illustration of their point then maybe the lists could have worked. As they were I started to just highlight the introductory sentence of any list that I thought I might want to revisit later because I wanted to go back and watch the film for the trait highlighted while glazing over the lists that just felt like they weren't really there to add anything.
Other than the lists I did think that the book did a good job of giving a solid history of the developments in Black Horror from the early days through to today, while allowing for some tangents and even brief examinations on how the progress of Black Horror has had ripple effects in non-genre content that Hollywood puts out. I wouldn't be surprised if I were to revisit this book again once I take a few more steps down the path to being a true horror girlie and can engage with the text in some more meaningful ways, but even just experiencing it as a primer of sorts feels like I was able to get something out of it.
Other than the lists I did think that the book did a good job of giving a solid history of the developments in Black Horror from the early days through to today, while allowing for some tangents and even brief examinations on how the progress of Black Horror has had ripple effects in non-genre content that Hollywood puts out. I wouldn't be surprised if I were to revisit this book again once I take a few more steps down the path to being a true horror girlie and can engage with the text in some more meaningful ways, but even just experiencing it as a primer of sorts feels like I was able to get something out of it.
September 13, 2023
This wasn't quite what I expected, but there was still some solid analysis in here.
I listened to the audiobook, and perhaps things are laid out differently in print, but there is a lot of just...Listing things happening in this book. (I took a peek at the ebook and it seems to be because of tables, bullet point lists etc.) Chapters kind of blended together for me - there were sections evaluating villains, heroes, tokenism, blaxploitation films, and more, but the layout seemed random. I would've expected a directory at the end for these specific, various tropes and subgenres and things, but no, they were listed in-text, to the point the book sounded like one long Wikipedia article. So there was a combination of unappealing content layout that "listened" as very dull, and me wondering what this listing added to the concept ‐ anyone can copy and paste wiki articles.
One section I found interesting was the unique-to home video industry of blaxploitation via re-titling and re-releases of movies. For example, The Beast Must Die (1974) was re-released as Black Werewolf to lure in Black audiences to perhaps-otherwise avoided blaxploitation films. Capitalism sure has nerve.
I think this would have been better in print, and with post-its to mark your spots if you'd like to check film recommendations to watch. Narrator Jaime Lincoln Smith did a solid job, sounding like a movie trailer announcer and that fit the vibe well, but the material was often dry and I'd zone out regardless.
I listened to the audiobook, and perhaps things are laid out differently in print, but there is a lot of just...Listing things happening in this book. (I took a peek at the ebook and it seems to be because of tables, bullet point lists etc.) Chapters kind of blended together for me - there were sections evaluating villains, heroes, tokenism, blaxploitation films, and more, but the layout seemed random. I would've expected a directory at the end for these specific, various tropes and subgenres and things, but no, they were listed in-text, to the point the book sounded like one long Wikipedia article. So there was a combination of unappealing content layout that "listened" as very dull, and me wondering what this listing added to the concept ‐ anyone can copy and paste wiki articles.
One section I found interesting was the unique-to home video industry of blaxploitation via re-titling and re-releases of movies. For example, The Beast Must Die (1974) was re-released as Black Werewolf to lure in Black audiences to perhaps-otherwise avoided blaxploitation films. Capitalism sure has nerve.
I think this would have been better in print, and with post-its to mark your spots if you'd like to check film recommendations to watch. Narrator Jaime Lincoln Smith did a solid job, sounding like a movie trailer announcer and that fit the vibe well, but the material was often dry and I'd zone out regardless.
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October 10, 2023
A delightful recap of the history of Black characters in American horror films.
The tone is poppy and irreverent while never failing to miss its mark of insightfulness on the various racist failings of the American film system...and by extension, the United States as a whole.
I learned a whole lot about a genre (horror) I knew very little of, and now my watchlist is very long!
The tone is poppy and irreverent while never failing to miss its mark of insightfulness on the various racist failings of the American film system...and by extension, the United States as a whole.
I learned a whole lot about a genre (horror) I knew very little of, and now my watchlist is very long!
August 31, 2023
The Black Guy Dies First – a trope so widespread that even the most casual of horror fans is familiar with the fact that, given a diverse cast, the reaper will be coming for the minority characters first. And that’s the point of discussion that kicks off this fantastic examination of Black characters in cinema; because why is that exactly?
The authors are both founts of knowledge on the subject. Robin R. Means Coleman is an award-winning scholar in the field of media studies and cultural politics, while Mark H. Harris has been an entertainment journalist for over twenty years, as well as founding BlackHorrorMovies.com. Between the two of them, it’s clear to the reader that there is a thorough and working knowledge of not just horror, not just cinema, not just Blackness and its treatment in media – but a combination of all three that leaves no stone unturnable in the conversation.
I say conversation, because considering our two very knowledgeable authors, The Black Guy Dies First feels less of a textbook, and more of a conversation with a particularly passionate friend. The material is comprehensive, but presented in a very readable style – chapters broken up with lists featuring such categories as “Frequent Dier Awards” or “Terrible Hip-Hop Theme Songs from Horror Movies” (a personal favorite). The authors clearly map the development of horror cinema and it’s relationship with Blackness, while making clear their intention is not just to teach, but to entertain; and they have absolutely succeeded. This is not just a book I’ve enjoyed reading (although I have, thoroughly), and not just a valuable resource I’ll refer back to again and again. It’s a combination of the two, and all the more worthwhile for it.
The authors are both founts of knowledge on the subject. Robin R. Means Coleman is an award-winning scholar in the field of media studies and cultural politics, while Mark H. Harris has been an entertainment journalist for over twenty years, as well as founding BlackHorrorMovies.com. Between the two of them, it’s clear to the reader that there is a thorough and working knowledge of not just horror, not just cinema, not just Blackness and its treatment in media – but a combination of all three that leaves no stone unturnable in the conversation.
I say conversation, because considering our two very knowledgeable authors, The Black Guy Dies First feels less of a textbook, and more of a conversation with a particularly passionate friend. The material is comprehensive, but presented in a very readable style – chapters broken up with lists featuring such categories as “Frequent Dier Awards” or “Terrible Hip-Hop Theme Songs from Horror Movies” (a personal favorite). The authors clearly map the development of horror cinema and it’s relationship with Blackness, while making clear their intention is not just to teach, but to entertain; and they have absolutely succeeded. This is not just a book I’ve enjoyed reading (although I have, thoroughly), and not just a valuable resource I’ll refer back to again and again. It’s a combination of the two, and all the more worthwhile for it.
January 12, 2023
From the title alone, you know this is a special book. Authors Robin R. Means Coleman and Mark H. Harris do not pull any punches when talking about race in horror movies. This is not a typical academic book however, it's easy to read, funny as heck and filled with lots of lists that will bring you back to your very first horror movie (For Example the highest grossing movie with Black Talent is I am Legend!). The table of contents sets your expectations : The "Other " through the eyes of others (stereotypes) and "woke " horror (Social consciousness) followed by Religion in horror and Black Comedy in horror and concluded with a representation matters chapter. Dr. Robin R. Means Colemanis is a well known writer of African Americans in Horror - teaming up with Vox writer Mark H.Harris brought some tongue and cheek and biting comments to a well written treastis the any horror lover would enjoy!
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April 19, 2024
QUOTE: If you aren't the lead you bleed.
The Black Guy Dies First is a BIG book of stats regarding Black people in the horror genre. There are lists upon lists, and like with most things, art imitates life when it comes to what we fear, our environment, and human nature. (Movies being the art.)
This book is broken down into several chapters with witty titles like The Magical Negro, The Sacrificial Negro; and Just Voodoo It! (Which was hilarious). The various chapters give you the breakdown and who, what, where, when, and why of black people in the horror movie genre.
George Romero (as we know) set the bar for the zombie sub-genre with his iconic film Night of the Living Dead, but what some people may or may not know is that the lead role was not written for a black man. Romero has said that Duane Jones (Ben) got the role because he was the best actor. (Nuff said)
Several references were made regarding Jordan Peele because he set the stage for a new horror movie and how black people are viewed and represented. It’s been said by several studios that black movies don’t bring in the numbers (money), but we know that’s BS because of Get Out, Us, The First Purge, etc. This book would name those movies and how much money they made at the box office.
Another sub-genre this book discusses is “Woke Horror,” a name that studios gave movies that dealt with deeper issues plaguing our communities. This horror style would allow other movies to follow them with eye-opening messages.
The story also goes on to discuss Women directors, the LBGTQ community, Queer Noir, and the Black final girl, which are all unrepresented in several film genres across the board.
Horror movies are about resilience, and the Black character never gives up, no matter our circumstances. The book quotes (I’m elaborating) …We show up movie after movie to suffer the same fate, bat in hand and ready to kick ass and take names by any means necessary.
QUOTE: You don't want to be invited to the Voodoo cookout, which translates to ..."human sacrifice."
I LOVED this book, and I’m buying hard copies for my friends.
The Black Guy Dies First is a BIG book of stats regarding Black people in the horror genre. There are lists upon lists, and like with most things, art imitates life when it comes to what we fear, our environment, and human nature. (Movies being the art.)
This book is broken down into several chapters with witty titles like The Magical Negro, The Sacrificial Negro; and Just Voodoo It! (Which was hilarious). The various chapters give you the breakdown and who, what, where, when, and why of black people in the horror movie genre.
George Romero (as we know) set the bar for the zombie sub-genre with his iconic film Night of the Living Dead, but what some people may or may not know is that the lead role was not written for a black man. Romero has said that Duane Jones (Ben) got the role because he was the best actor. (Nuff said)
Several references were made regarding Jordan Peele because he set the stage for a new horror movie and how black people are viewed and represented. It’s been said by several studios that black movies don’t bring in the numbers (money), but we know that’s BS because of Get Out, Us, The First Purge, etc. This book would name those movies and how much money they made at the box office.
Another sub-genre this book discusses is “Woke Horror,” a name that studios gave movies that dealt with deeper issues plaguing our communities. This horror style would allow other movies to follow them with eye-opening messages.
The story also goes on to discuss Women directors, the LBGTQ community, Queer Noir, and the Black final girl, which are all unrepresented in several film genres across the board.
Horror movies are about resilience, and the Black character never gives up, no matter our circumstances. The book quotes (I’m elaborating) …We show up movie after movie to suffer the same fate, bat in hand and ready to kick ass and take names by any means necessary.
QUOTE: You don't want to be invited to the Voodoo cookout, which translates to ..."human sacrifice."
I LOVED this book, and I’m buying hard copies for my friends.
Read
June 5, 2023I won't rate this so the algorithm for this book doesn't get screwed but this is a fun read, and Black horror fans especially will get something special out of this one. The design of the book is also GORGEOUS and in full color! But I think for me, I wanted it to be a bit less jokey and a bit more academic / deeper in analysis. But it's a good pop non-fiction read.
March 30, 2023
Do you have a subscription to Shudder?
Rue Morgue Magazine or Fangoria?
Watch horror movies all year round?
Maybe a couple tees from Fright Rags?
If you answered yes to any or all of the above, this is a book for you!
This is a nonfiction history of Black representation in horror films, and an account of how that representation has changed over time from co-authors Robin R. Means Coleman and Mark H. Harris who are both featured in the Black horror documentary on Shudder Horror Noire.
This doesn't have the level of depth and analysis you will find in Men, Women and Chainsaws, but it requires a pretty strong knowledge of horror genre films, and other genre films like action and Blaxploitation, in order to follow along. There are a lot of inside jokes and references that only serious fans are going to catch. For example, at one point while referencing a character in Phantasm III it is noted that they helped bring down the Tall Man which if you are not familiar with the franchise you might not know who that it.
There is a reference to the famous line from They Live, "I came here to chew bubble gum and kick ass, and I'm all out of bubblegum," so if you aren't familiar with that film you won't catch it. Not totally necessary to get the reference, but it certainly added to my enjoyment.
Reading this book felt like a conversation between fellow horror fans, which I was so in love with.
This book was perfect for me. I love horror movies and I've watched a lot of them, so this book covers many that I already knew, classics and cult favorites, but a number of newer films I hadn't heard of. There are also little interludes in the book of listicles of movie subgenres, character types, movie concepts and box office results.
Less important than the content inside, but worthy of note, is the construction of this book.
It is constructed with this nice, thick cardstock type pages that make it feel like a textbook.
If you are a horror fan, you gotta read it.
If you are a casual movie fan, less familiar with horror, looking for some deep film analysis like Men, Women and Chainsaws, maybe skip this one.
Doctor Coleman is the author of another text focused on Black horror, Horror Noire: Blacks in American Horror Films from the 1890s to Present, so I am curious if that is more academic and in depth.
Rue Morgue Magazine or Fangoria?
Watch horror movies all year round?
Maybe a couple tees from Fright Rags?
If you answered yes to any or all of the above, this is a book for you!
This is a nonfiction history of Black representation in horror films, and an account of how that representation has changed over time from co-authors Robin R. Means Coleman and Mark H. Harris who are both featured in the Black horror documentary on Shudder Horror Noire.
This doesn't have the level of depth and analysis you will find in Men, Women and Chainsaws, but it requires a pretty strong knowledge of horror genre films, and other genre films like action and Blaxploitation, in order to follow along. There are a lot of inside jokes and references that only serious fans are going to catch. For example, at one point while referencing a character in Phantasm III it is noted that they helped bring down the Tall Man which if you are not familiar with the franchise you might not know who that it.
There is a reference to the famous line from They Live, "I came here to chew bubble gum and kick ass, and I'm all out of bubblegum," so if you aren't familiar with that film you won't catch it. Not totally necessary to get the reference, but it certainly added to my enjoyment.
Reading this book felt like a conversation between fellow horror fans, which I was so in love with.
This book was perfect for me. I love horror movies and I've watched a lot of them, so this book covers many that I already knew, classics and cult favorites, but a number of newer films I hadn't heard of. There are also little interludes in the book of listicles of movie subgenres, character types, movie concepts and box office results.
Less important than the content inside, but worthy of note, is the construction of this book.
It is constructed with this nice, thick cardstock type pages that make it feel like a textbook.
If you are a horror fan, you gotta read it.
If you are a casual movie fan, less familiar with horror, looking for some deep film analysis like Men, Women and Chainsaws, maybe skip this one.
Doctor Coleman is the author of another text focused on Black horror, Horror Noire: Blacks in American Horror Films from the 1890s to Present, so I am curious if that is more academic and in depth.
January 18, 2023
This is a Buzzfeed article and listsicles in book form, and alas, it is pretty terrible. The stream-of-consciousness style, lists, trivia, and name-drops (without context) left me really disappointed in this book, whose topic is important and deserves better treatment.
February 19, 2023
Like many pop history books, it has a lot of repetition. Like, I didn’t need the plot of Karen or The Thing with Two Heads explained to me multiple times. Also it sometimes feels underresearched and then VERY overresearched. Long lists of titles and data are what appendices are for, my friend! But overall, still a fun read. It’s got a very pleasant conversational writing style, a unique focus, and some titles to add to my list, which is all I ask.
February 3, 2023
In 1968, the horror movies Spider Baby, and Night of the Living Dead, came out. One marks the influence of an era gone by, while the other one heralds in a new age: one where Black actors begin to play the brave and intelligent hero.
At the beginning of Spider Baby, an unnamed messenger--played by veteran actor Mantan Moreland--is trying to deliver a letter to the Merrye House: a secluded and dilapidated home that the locals avoid. However, unnamed-messenger-guy has a job to do. When his knocking goes unanswered, unnamed-messenger-guy does a horror movie no-no and peers through an open window. Big mistake, sacrificial unnamed-messenger-guy. We have just experienced the expected demise of the classic spook character: the jittery, comedic, and wide-eyed black guy who dies first. By the time Spider Baby came out, Mr. Moreland had played this same character in several horror films made mostly in the 1940s. The spook character continues through horror cinema, but it becomes slightly less cringeworthy.
In Night of the Living Dead, Ben—Duane Jones’ first feature film—shows up in the second act of the movie. The film begins with white brother and sister that—while laying flowers at a grave--are attacked by the living dead (“They’re coming to get you Barbra.”). Barbra makes it to a house where she finds Ben. Ben is a strong, decisive, and brave leader who just happens to be a Black man. He manhandles the sniveling and catatonic Barbra; slapping her at one point to get her to snap out of her own version of being the living dead. He works hard for all of them to survive, and he is not the first to die.
The Black Guy Dies First: Black Horror Cinema from Fodder to Oscar is an in-depth look into the history of Black characters and horror cinema from 1968 to the present. The book covers stereotypes (spook, savage, witch doctor, magical, sacrificial); Woke Horror (addressing racial and social issues); religion (belief systems, primitivism); horror/comedy (self-referential); and the effect of increased representation behind the cameras. Each section provides lists of movies and actors specific for the subject matter. There is also a lot of humor, and the tone is conversational. The Black Character Horror Movie Survival Guide (found in chapter one) provides tips such as: stay away from White people; be funny; don’t be annoying; and be famous, preferably as rapper of some sort.
I’d like to end with this quote from the Epilogue:
“Black horror’s triumph is its ability to reflect more deeply
on the ways in which Black history has been and continues
to be Black horror.”
I would like to thank NetGalley and Galley/Saga Press for the opportunity to read and review this amazing book.
At the beginning of Spider Baby, an unnamed messenger--played by veteran actor Mantan Moreland--is trying to deliver a letter to the Merrye House: a secluded and dilapidated home that the locals avoid. However, unnamed-messenger-guy has a job to do. When his knocking goes unanswered, unnamed-messenger-guy does a horror movie no-no and peers through an open window. Big mistake, sacrificial unnamed-messenger-guy. We have just experienced the expected demise of the classic spook character: the jittery, comedic, and wide-eyed black guy who dies first. By the time Spider Baby came out, Mr. Moreland had played this same character in several horror films made mostly in the 1940s. The spook character continues through horror cinema, but it becomes slightly less cringeworthy.
In Night of the Living Dead, Ben—Duane Jones’ first feature film—shows up in the second act of the movie. The film begins with white brother and sister that—while laying flowers at a grave--are attacked by the living dead (“They’re coming to get you Barbra.”). Barbra makes it to a house where she finds Ben. Ben is a strong, decisive, and brave leader who just happens to be a Black man. He manhandles the sniveling and catatonic Barbra; slapping her at one point to get her to snap out of her own version of being the living dead. He works hard for all of them to survive, and he is not the first to die.
The Black Guy Dies First: Black Horror Cinema from Fodder to Oscar is an in-depth look into the history of Black characters and horror cinema from 1968 to the present. The book covers stereotypes (spook, savage, witch doctor, magical, sacrificial); Woke Horror (addressing racial and social issues); religion (belief systems, primitivism); horror/comedy (self-referential); and the effect of increased representation behind the cameras. Each section provides lists of movies and actors specific for the subject matter. There is also a lot of humor, and the tone is conversational. The Black Character Horror Movie Survival Guide (found in chapter one) provides tips such as: stay away from White people; be funny; don’t be annoying; and be famous, preferably as rapper of some sort.
I’d like to end with this quote from the Epilogue:
“Black horror’s triumph is its ability to reflect more deeply
on the ways in which Black history has been and continues
to be Black horror.”
I would like to thank NetGalley and Galley/Saga Press for the opportunity to read and review this amazing book.
September 14, 2025
3,5*
This is a non fiction book that explores black characters in horror movies since the beginning of cinema.
It goes through the changes that happened and how we went from the black guy dies first to incredible movies like Get Out by Jordan Peele. It analyses the tropes and the roles that black people were offered then and now.
I did listen to the audiobook and I had a lot of fun hearing stories about some movies that I really adore and I have to admit some of the older movies mentioned, I have not seen so I have now new movies to explore.
Keep in mind that there are many lists in this book. Sometimes the lists were a bit more annoying to listen to in audiobook format. The narrator did an excellent job but if you want to take notes and mark lists of movies for later, you might want to get this in physical form or for your kindle.
This is a non fiction book that explores black characters in horror movies since the beginning of cinema.
It goes through the changes that happened and how we went from the black guy dies first to incredible movies like Get Out by Jordan Peele. It analyses the tropes and the roles that black people were offered then and now.
I did listen to the audiobook and I had a lot of fun hearing stories about some movies that I really adore and I have to admit some of the older movies mentioned, I have not seen so I have now new movies to explore.
Keep in mind that there are many lists in this book. Sometimes the lists were a bit more annoying to listen to in audiobook format. The narrator did an excellent job but if you want to take notes and mark lists of movies for later, you might want to get this in physical form or for your kindle.
July 5, 2025
This was such an interesting and informative read. And it added SO many movies to my watch list! A definite must read for any horror movie fan.
January 15, 2023
Thanks to gallery and netgalley for the arc. Fun and informative read about black actors portrayals throughout cinema. Very well written and informative. Funny at times and engaging I really enjoyed this 5⭐️
February 3, 2023
Thank you Saga Press/ Gallery for my review copy.
My 💭:
If you’re a Black horror fan read this book.
If you’re Black read this book.
If you’re a horror fan read this book.
“Blackness isn’t monolithic, after all, and everyone deserves to have their stories told.”
All of this!!
This book really broke down the stereotypical roles Black actors receive in horror movies and that needs to change! Yes, We do have Jordan Peele, but he can’t be the only director to have Black people in non stereotypical roles.
Reading this book was very informative and had me laughing out loud as well. This book also put me on to films I never even heard of and I’m excited to check out Dr. Black & Mr. Hyde from the 70’s. Shoutout to Tubi for having this movie on their streaming service.
After reading this story whenever I see Charles S. Dutton, I will forever think of him as the Sacrificial Negro Extraordinaire. 🤣😩😭 I’m still weak at the way this broke this all the way down.
My 💭:
If you’re a Black horror fan read this book.
If you’re Black read this book.
If you’re a horror fan read this book.
“Blackness isn’t monolithic, after all, and everyone deserves to have their stories told.”
All of this!!
This book really broke down the stereotypical roles Black actors receive in horror movies and that needs to change! Yes, We do have Jordan Peele, but he can’t be the only director to have Black people in non stereotypical roles.
Reading this book was very informative and had me laughing out loud as well. This book also put me on to films I never even heard of and I’m excited to check out Dr. Black & Mr. Hyde from the 70’s. Shoutout to Tubi for having this movie on their streaming service.
After reading this story whenever I see Charles S. Dutton, I will forever think of him as the Sacrificial Negro Extraordinaire. 🤣😩😭 I’m still weak at the way this broke this all the way down.
February 4, 2023
I got an ARC.
DNF at 20%
I don’t even know where to start. This book sounded amazing and the authors have credentials that made me think this book would be amazing. Instead I got badly formatted basic information.
Action movies =/= horror movies
Seriously. The first three sections had me just going “isn’t that an action movie?” Over and over again. And surprise, a great deal of what was mentioned were in fact clearly action movies. Not being able to tell the difference between an action movie and a horror movie made me doubt I would enjoy or learn much. Yes, some movies can go between genres, but with how many horror movies there are why spend space talking about The Green Mile (neither an action movie or a horror movie!).
It could have gotten better, but I would rather spend that time watching horror movies.
DNF at 20%
I don’t even know where to start. This book sounded amazing and the authors have credentials that made me think this book would be amazing. Instead I got badly formatted basic information.
Action movies =/= horror movies
Seriously. The first three sections had me just going “isn’t that an action movie?” Over and over again. And surprise, a great deal of what was mentioned were in fact clearly action movies. Not being able to tell the difference between an action movie and a horror movie made me doubt I would enjoy or learn much. Yes, some movies can go between genres, but with how many horror movies there are why spend space talking about The Green Mile (neither an action movie or a horror movie!).
It could have gotten better, but I would rather spend that time watching horror movies.
November 1, 2023
Disclaimer: I'm a horror-movie fan, especially Black horror.
I loved it. I loved the trivia, the history, the lists, the important connections and discussions, and the sarcasm/humor. It was laugh-out-loud, run that back funny!
If you're into horror movies and/or commentary on life's influence on art, please pick this up. And if you can, listen to the audiobook. Jaime Lincoln Smith narrated his ass off. He hit every joke, parenthetical, side-eye, and quip with perfection.
I loved it. I loved the trivia, the history, the lists, the important connections and discussions, and the sarcasm/humor. It was laugh-out-loud, run that back funny!
If you're into horror movies and/or commentary on life's influence on art, please pick this up. And if you can, listen to the audiobook. Jaime Lincoln Smith narrated his ass off. He hit every joke, parenthetical, side-eye, and quip with perfection.
February 22, 2023
I really enjoyed this book. The authors humor was great and the writing was easy to read and clear. I am not a huge horror movie watcher so I didn't know all of the movies they were referencing but I felt that I was able to understand the concept and what was being described without watching the movies.
I won a review copy on goodreads.
I won a review copy on goodreads.
February 14, 2024
The Black Guy Dies First is an educational and entertaining book that covers the history of modern Black horror movies, focusing on 1968 to present. After seeing the Horror Noire documentary and loving it, I really wanted to check out Robin R. Means Coleman's nonfiction book Horror Noire, but I had a hard time finding a copy. Much to my delight, she released this book with Mark H. Harris which I was able to access on audio (and I am now able to access Horror Noire on audio as well, and I'm looking forward to reading it as well, hopefully later this year, since even though it doesn't cover more recent selections due to it being over a decade old, it does go further back in history which I am very interested in). It covers tropes and stereotypes of Black people throughout cinematic history and horror in particular, different Black starring and directed movies from the sixties to present including their strengths and weaknesses, different eras of Black horror (like Blaxploitation, the 90s Black horror boom, and the renaissance of the last few years in particular), different types of horror movies, Black final girls, queer rep in Black horror, and much more. It covers a lot of ground, and it does it with a great sense of humour, making it a pleasure to read. I listened to the audiobook, and the narration was very enjoyable, although sometimes it was hard to pay attention to lists, and I definitely had to go back a bunch.
Overall, this is a fun and informative book that is well worth the read for anyone interested in film history and horror cinema, especially Black horror film history. I hope to read Horror Noire soon!
Overall, this is a fun and informative book that is well worth the read for anyone interested in film history and horror cinema, especially Black horror film history. I hope to read Horror Noire soon!
January 22, 2023
The documentary, Horror Noire, is in part based on a book by Dr. Robin R. Means Coleman. I've planned to read the book for too long, and when The Black Guy Dies First popped up on NetGalley, I couldn't click "request" fast enough. This non-fiction book is a fast read, so if part of the reason someone might not pick this up is because of pre-conceived notions about the pace of non-fic, those fears should be put at ease.
From the comprehensive coverage that starts with Spider Baby and The Night of the Living Dead to the last section on Representation Matters, Coleman and Harris leave no stone unturned as they dissect and inspect a multitude of subjects on and about Black horror stereotypes, tropes, characters, and movies. Interspersed throughout, readers will find additional information outside of the regular chapter content with informative and engaging lists such as "Types of Black Horror Movie Deaths", "The Black Character Horror Movie Survival Guide", and the personal top ten movie lists for each author.
There is so much more to be said about this book and the topics it covers. I encourage everyone to pick this up, not only for the education, but for the delight in reading a book so clearly written by two people who truly love the genre.
From the comprehensive coverage that starts with Spider Baby and The Night of the Living Dead to the last section on Representation Matters, Coleman and Harris leave no stone unturned as they dissect and inspect a multitude of subjects on and about Black horror stereotypes, tropes, characters, and movies. Interspersed throughout, readers will find additional information outside of the regular chapter content with informative and engaging lists such as "Types of Black Horror Movie Deaths", "The Black Character Horror Movie Survival Guide", and the personal top ten movie lists for each author.
There is so much more to be said about this book and the topics it covers. I encourage everyone to pick this up, not only for the education, but for the delight in reading a book so clearly written by two people who truly love the genre.
February 19, 2023
Thank you to Netgalley for the ebook ARC! I read it alongside the audiobook that I borrowed from the library.
I appreciated how thorough this book was. It offers a detailed look at the tropes used in movies and television that make black characters 2-dimensional and expendable rather than accurate portrayals of people. However, this thoroughness was a double-edged sword. It would have better served the structure of this book to have the long lists of example movies at the end. This was particularly needed in the audiobook because listening to lists being read aloud isn't enjoyable. These lists are an intrinsic part of illustrating what the author meant and they should be included, but an addendum would have made much more sense, as the reader gets to choose whether they want to read through it, and they're usually easier to navigate when they're organised all together rather than having to flip to each section of the book.
That aside, this book celebrates the very recent progress the horror genre, and Hollywood as a whole, has made in contrast with the portrayals we're used to. While accurate representation of black personhood is still far from the norm, there seems to be some hope for the future.
I appreciated how thorough this book was. It offers a detailed look at the tropes used in movies and television that make black characters 2-dimensional and expendable rather than accurate portrayals of people. However, this thoroughness was a double-edged sword. It would have better served the structure of this book to have the long lists of example movies at the end. This was particularly needed in the audiobook because listening to lists being read aloud isn't enjoyable. These lists are an intrinsic part of illustrating what the author meant and they should be included, but an addendum would have made much more sense, as the reader gets to choose whether they want to read through it, and they're usually easier to navigate when they're organised all together rather than having to flip to each section of the book.
That aside, this book celebrates the very recent progress the horror genre, and Hollywood as a whole, has made in contrast with the portrayals we're used to. While accurate representation of black personhood is still far from the norm, there seems to be some hope for the future.
Read
September 28, 2023this was a really interesting book my only regret is choosing to audiobook this vs read a physical copy so that I could easily reference movie titles and keep track of the lists.
March 7, 2023
A popular-press spin-off of Coleman's excellent scholarly monograph Horror Noire. It's extremely well-informed and exhaustively researched, but the snarky tone and endless puns start to grate after a while, while about half of the book seems to be made up of listicles that add little to the overall analysis. Another problem is that of repetition, as a bunch of movies that appear repeatedly across the book are introduced and described over and over again.
March 9, 2023
Didn't love it, didn't hate it.
The book really boils down to what feels like primarily listicle type chapters that read as if the authors do truly have deep knowledge, but were constrained to a more blog-y type style. Overall, I didn't really learn a whole lot, but I did get to add a decent amount of movies to my Letterboxd!
P.S. Please don't do dark gray lettering on a black background.
The book really boils down to what feels like primarily listicle type chapters that read as if the authors do truly have deep knowledge, but were constrained to a more blog-y type style. Overall, I didn't really learn a whole lot, but I did get to add a decent amount of movies to my Letterboxd!
P.S. Please don't do dark gray lettering on a black background.
2023
October 13, 2025Non-fiction November TBR
📖 Thank you to Goodreads and S&S/Saga Press
📖 Thank you to Goodreads and S&S/Saga Press
March 30, 2023
I wanted to love this book. I was beyond excited when I discovered its existence, and I placed a hold at my library as soon as they ordered it, pre-publication date. And I anxiously waited.
Unfortunately...this book did not meet expectations. (If I'm honest, this probably would have gotten 3 stars if I hadn't been anticipating it so much and felt so let down by the way the information was presented.) It does have a lot of good information, and this is absolutely a subject that should be explored, but there were also a lot of misses in this book. For starters, the structure left it open for a lot of repetition, which could have been avoided if they had decided to talk about different movies for the different sections, but several movies make several appearances, and yes, they may touch on the different points the authors are making, but there's something to be said for editing and selecting. (It's kind of wild to me how many times Karen is brought up, when the only reason I know about it is because a YouTuber I watch who reviews bad movies talked about it, and even she was severely unimpressed.)
I was expecting it to be more of a chronological study exploring how representation shifted with the times. The Stereotypes chapter, especially, could have benefited from a bit of this, showing how "The Spook," for example, started as a derogatory laugh-at character, but then it was claimed by the Black community and shifted. (The book does acknowledge this claim and change, but that was in a different chapter, I believe the chapter about Black Horror Comedies.) I also took some issue at the authors' attachment of The Seductress stereotype every time a black woman character is overtly sexual (the insinuation that Elizabeth in The Perfection walks the line of Seductress because she was more forward at the beginning is just flabbergasting).
Which leads to another problem for me: a lot of the examples or statistics were quite flimsy and would take me out of the point completely, which is a real shame, since there are several solid points to be had. But when you include Will Smith in I Am Legend as an example of The Rapper in a Horror Movie stereotype (that's like saying Dwayne Johnson in The Fast and the Furious movies is the Wrestler stereotype; sure, it's true, that was his profession at one point, but he is an established actor), or Lupita Nyong'o in Us as an example of Black Oscar Winners whose "Oscar nod [couldn't] necessarily shield performers from Hollywood's racial pecking order" (I recognize that this was cheeky phrasing and intended as humor, but it would have been the same list to show off what amazing Black Talent is present in horror), or including the pilot from Jurassic World: Dominion in the list of Black lesbian representation in horror because at one point she says she "has a thing for red-heads" in reference to Bryce Dallas Howard (WHY are we including Jurassic World: Dominion in a horror review??? and it says more than you're suggesting if that is the best representation you can pull) how am I not supposed to be taken aback? There's enough Black Horror to not include these loosy-goosy "examples" or repeat the same movie over and over (or include just plain non-horror movies).
I also felt the sexuality representation chapter, which is what closes out the book, so...weak closer for me, was quite off-base. While I feel like obtuseness and lack of recognition of nuance were peppered generously throughout the book's analysis of several movies/characters, in the section about LGBTQ+ representation, the authors note, "While the prevailing narrative is that the Black community is more homophobic than America as a whole, the truth is more complicated -- as generalities tied to race tend to be," then try to argue that Black voters overwhelmingly voted for Obama after he advocated for same-sex marriage as support for this wrinkle. Then after a long breakdown of a gay couple's portrayal in Blacula, they state, "Outside of Blacula, Black queer representation in American horror was hard to find through the '70s and into the '80s [when blaxploitation films were big, and there actually were several Black filmmakers on the scene]." But let's just dance past what a complete lack of any inclusion by Black filmmakers means. Then there are several examples of more modern Black filmmakers treating homosexuality as a joke if it's about gay men or sexually objectifying if it's about lesbians (and for this conversation, you bet The Seductress stereotype was revisited). But, as I complained that the authors don't seem to recognize nuance/horror-as-a-whole trends, I should acknowledge that these sexuality representation issues are all-around cultural/trends in movies in general issues, not just Black filmmakers or Black representation, but the way the book presents the issue is somewhat sloppy. On a positive note for this section, I was fascinated by the fact that "the overwhelming majority of gay relationships involving a Black partner are interracial...It's as if Blackness is okay, and queerness is okay, but the 'otherness quotient' that comes with seeing two Black queer people together has been deemed too much for audiences to handle." An actual statistic would have been nice, but based on the movies I can think of and they list, I'll buy it.
Overall, the way this book was written, it kind of felt like the authors just don't like horror movies (except The Purge; they LOVE The Purge franchise**), and while I understand a lot of the point of the book is how Blacks have been woefully underused/misrepresented in horror (True), I still feel like there was some ill-faith criticism that shone through. (They claim The Voice of Reason stereotype is "an outgrowth of the belief in Black superstition that helped give rise to the Spook. The Voice of Reason is more reserved and worldly than the Spook, of course, and is more appropriately apprehensive than piss-pants scared, but as with all the stereotypes on this list, the lines between the can blur faster than Robin Thicke's marital vows," and there are several paragraphs lampooning Snakes on a Plane and how it crowd-sourced "I have had it with these m'f'ing snakes on this m'f'ing plane," and audiences wanting Samuel L Jackson to...Samuel L Jackson and an insinuation that the White audience is laughing at him. I genuinely don't remember that movie, except for that line, which was in all the trailers, but it would not be my first instinct to classify that as a horror movie...or that anyone is laughing *at* SLJ.)
Quote of the Book for Me: "Films written or directed by people of color in 2020 had significantly more diverse casts than those written or directed by white men." (No durr...)
**I'm kind of surprised there's not more criticism in this book about the first Purge movie. I remember walking out of that movie thinking, 'Man, they could have done something with that premise, but then they completely side-stepped it.' They picked up the social commentary in the later movies, but that first one really felt like a miss to me.
Unfortunately...this book did not meet expectations. (If I'm honest, this probably would have gotten 3 stars if I hadn't been anticipating it so much and felt so let down by the way the information was presented.) It does have a lot of good information, and this is absolutely a subject that should be explored, but there were also a lot of misses in this book. For starters, the structure left it open for a lot of repetition, which could have been avoided if they had decided to talk about different movies for the different sections, but several movies make several appearances, and yes, they may touch on the different points the authors are making, but there's something to be said for editing and selecting. (It's kind of wild to me how many times Karen is brought up, when the only reason I know about it is because a YouTuber I watch who reviews bad movies talked about it, and even she was severely unimpressed.)
I was expecting it to be more of a chronological study exploring how representation shifted with the times. The Stereotypes chapter, especially, could have benefited from a bit of this, showing how "The Spook," for example, started as a derogatory laugh-at character, but then it was claimed by the Black community and shifted. (The book does acknowledge this claim and change, but that was in a different chapter, I believe the chapter about Black Horror Comedies.) I also took some issue at the authors' attachment of The Seductress stereotype every time a black woman character is overtly sexual (the insinuation that Elizabeth in The Perfection walks the line of Seductress because she was more forward at the beginning is just flabbergasting).
Which leads to another problem for me: a lot of the examples or statistics were quite flimsy and would take me out of the point completely, which is a real shame, since there are several solid points to be had. But when you include Will Smith in I Am Legend as an example of The Rapper in a Horror Movie stereotype (that's like saying Dwayne Johnson in The Fast and the Furious movies is the Wrestler stereotype; sure, it's true, that was his profession at one point, but he is an established actor), or Lupita Nyong'o in Us as an example of Black Oscar Winners whose "Oscar nod [couldn't] necessarily shield performers from Hollywood's racial pecking order" (I recognize that this was cheeky phrasing and intended as humor, but it would have been the same list to show off what amazing Black Talent is present in horror), or including the pilot from Jurassic World: Dominion in the list of Black lesbian representation in horror because at one point she says she "has a thing for red-heads" in reference to Bryce Dallas Howard (WHY are we including Jurassic World: Dominion in a horror review??? and it says more than you're suggesting if that is the best representation you can pull) how am I not supposed to be taken aback? There's enough Black Horror to not include these loosy-goosy "examples" or repeat the same movie over and over (or include just plain non-horror movies).
I also felt the sexuality representation chapter, which is what closes out the book, so...weak closer for me, was quite off-base. While I feel like obtuseness and lack of recognition of nuance were peppered generously throughout the book's analysis of several movies/characters, in the section about LGBTQ+ representation, the authors note, "While the prevailing narrative is that the Black community is more homophobic than America as a whole, the truth is more complicated -- as generalities tied to race tend to be," then try to argue that Black voters overwhelmingly voted for Obama after he advocated for same-sex marriage as support for this wrinkle. Then after a long breakdown of a gay couple's portrayal in Blacula, they state, "Outside of Blacula, Black queer representation in American horror was hard to find through the '70s and into the '80s [when blaxploitation films were big, and there actually were several Black filmmakers on the scene]." But let's just dance past what a complete lack of any inclusion by Black filmmakers means. Then there are several examples of more modern Black filmmakers treating homosexuality as a joke if it's about gay men or sexually objectifying if it's about lesbians (and for this conversation, you bet The Seductress stereotype was revisited). But, as I complained that the authors don't seem to recognize nuance/horror-as-a-whole trends, I should acknowledge that these sexuality representation issues are all-around cultural/trends in movies in general issues, not just Black filmmakers or Black representation, but the way the book presents the issue is somewhat sloppy. On a positive note for this section, I was fascinated by the fact that "the overwhelming majority of gay relationships involving a Black partner are interracial...It's as if Blackness is okay, and queerness is okay, but the 'otherness quotient' that comes with seeing two Black queer people together has been deemed too much for audiences to handle." An actual statistic would have been nice, but based on the movies I can think of and they list, I'll buy it.
Overall, the way this book was written, it kind of felt like the authors just don't like horror movies (except The Purge; they LOVE The Purge franchise**), and while I understand a lot of the point of the book is how Blacks have been woefully underused/misrepresented in horror (True), I still feel like there was some ill-faith criticism that shone through. (They claim The Voice of Reason stereotype is "an outgrowth of the belief in Black superstition that helped give rise to the Spook. The Voice of Reason is more reserved and worldly than the Spook, of course, and is more appropriately apprehensive than piss-pants scared, but as with all the stereotypes on this list, the lines between the can blur faster than Robin Thicke's marital vows," and there are several paragraphs lampooning Snakes on a Plane and how it crowd-sourced "I have had it with these m'f'ing snakes on this m'f'ing plane," and audiences wanting Samuel L Jackson to...Samuel L Jackson and an insinuation that the White audience is laughing at him. I genuinely don't remember that movie, except for that line, which was in all the trailers, but it would not be my first instinct to classify that as a horror movie...or that anyone is laughing *at* SLJ.)
Quote of the Book for Me: "Films written or directed by people of color in 2020 had significantly more diverse casts than those written or directed by white men." (No durr...)
**I'm kind of surprised there's not more criticism in this book about the first Purge movie. I remember walking out of that movie thinking, 'Man, they could have done something with that premise, but then they completely side-stepped it.' They picked up the social commentary in the later movies, but that first one really felt like a miss to me.
February 27, 2023
I was surprised in reading this overview of black horror just how many of the films, good or bad, I’d simply never even heard of. I think other than the most die hard lifelong horror fans, it would be difficult for most to name even a 10th of some of the films talked about here (even including the obvious like Candyman, Get Out, Us). The authors are equal opportunity in regards to judging the fare, more likely to deride many black focused horror films and for good reason: most of the films were made and probably rented by people more inclined towards a fetish than by those looking to learn about and experience the world of black individuals. The authors have done incredible work, therefore, in finding the genuine hidden gems of black representation from the absolute beginning of film history. The authors also related these gems through a social, political, and religious lens to lend critical background to what makes these films important. This book is a great starting point in exploring this important movement within horror.
A note on tone: the book leans more on the comedic side (not hard to do when discussing some of the films) than a strict academic one. If you’d prefer a more serious take, both authors have an immense bibliography of work in the topic and I’d recommend looking into it if you find the tongue in cheek tone of about 90% of the book a deterrent.
A note on tone: the book leans more on the comedic side (not hard to do when discussing some of the films) than a strict academic one. If you’d prefer a more serious take, both authors have an immense bibliography of work in the topic and I’d recommend looking into it if you find the tongue in cheek tone of about 90% of the book a deterrent.
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