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Nov 24, 2024

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1 Nia Dacosta’s New Candyman (2021) Institutional Affiliation Name Course Date

2 Nia Dacosta’s New Candyman (2021) Ways That the Original Candyman Was Problematic Racially The first Candyman (1992)'s racial issues were terrible in three aspects. First, it portrayed Black actors as flat and devoid of depth or complexity. Candyman, the primary adversary, is depicted as an amoral, spiteful character bereft of every human trait (Issei, 2022). Such continued the long-standing stereotype of Black individuals being treated like savages and the object of horror and dread. Second, by assigning all of its Black players to support roles, the movie supported racist tropes (Issei, 2022). The only significant Black actors were confined to the positions of victims and villains, whereas all of the key characters were whites. It supported the stereotype that Black individuals cannot be protagonists or champions. Additionally, the movie's setting had serious racial issues. It was set in a fictitious Chicago neighbourhood's residential development, depicted as a hazardous, crime-ridden area where Black folks lived. Such served to support the myth that Black persons cause crime and danger (Issei, 2022). By immersing the protagonists in a desolate and bleak backdrop, this location further degraded the characters. By showing one-dimensional actors, relegating Black people to supporting positions, and putting the movie in a hazardous and crime-ridden area, the initial Candyman (1992) was generally extremely problematic regarding race (Issei, 2022). Such prejudices and cliches perpetuated the concept that Black people are brutal, violent, and unworthy of heroic positions. Ways the New Candyman Seeks To Update the Original By offering a more socially minded tale, the new Candyman (2021) aims to update the initial 1992 edition in the first place. The new movie is set in a rapidly gentrifying Chicago

3 neighbourhood where wealthy immigrants drive out a primarily black and working populace. The titular characters' existence intensifies the increased tension and rivalry between the various classes. The movie also bravely tackles topics like racism and classism that were absent from the original (Issei, 2022). The characters Anthony, a victim of police violence, and Candyman himself, whose mythology has been twisted by the urbanization of his previous neighbourhood, serve as examples of this. Another approach that the latest Candyman aims to modernize the first is by placing more of a focus on paranormal aspects. The use of hauntology, a theory that holds that the current and past are linked, best illustrates this. In the new movie, Candyman appears as a spectral entity representing the current and the past. As the movie explores the nuances of the actor's history and how this background is related to the current, the idea of hauntology enables the audience to comprehend Candyman's personality more sophisticatedly (Issei, 2022). Moreover, the new Candyman improves on the first by focusing more on the plot's horror aspects. Such is accomplished by utilizing ominous music, powerful sound effects, and tight cinematography. Moreover, the terror components of the movie are heightened by using these elements to instil fear and suspense in the audience (Issei, 2022). The latest version also features a wider range of jump scares and graphic imagery to startle and frighten the audience. How the Update Succeed In Addressing the Problematic Aspects of the Original Candyman (2021) does a good job of correcting the original's flaws in several ways. First, the new edition has a more rich diversity that challenges the racial prejudices featured in the earlier edition. Yahya Abdul-Mateen II plays the title role, Tony Todd plays a supplementary role, and Teyonah Parris plays the lead (Issei, 2022). Furthermore, the revised version explores how Candyman's influence is based on the mythology of the Cabrini-Green housing project and

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4 emphasizes his existence's emotional and mental impact on his targets. Additionally, the new rendition also explores the social critique of the first one, drawing parallels with contemporary prejudice, gentrification, and class discrimination problems in Chicago.

5 Reference Issei, W. A. K. E. (2022). Candyman, the Specter of Past, Present, and Future: The Analysis of Candyman (2021) through Hauntology. https://chuou.repo.nii.ac.jp/? action=pages_view_main&active_action=repository_view_main_item_detail&item_id=1 7836&item_no=1&page_id=13&block_id=21

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