From the invisible coachman to the black protagonist

the representation of workers in horror’s movies

Abstract

The representation of workers in horror cinematographic movies followed a trajectory with a use of workers like accessories and an invisibility of workers as almost hidden characters to a perspective where the working class starts to act as the protagonist of their history. From Universal's horror cycle to the Hammer’s cycle, the presence of workers has a residual transformation, but the invisibility continues.. This process was accelerated and transformed from the 1960s onwards and specifically after the release of “The night of the living dead” (1968), when the working class began to be represented with representation with the racial and gender issue itself gaining the screens, being constructed from a critical perspective and which is seen as part of the process of gradual protagonism. Cinema produces documents that reveal social structures and social codes of the context of its production and we believe it is possible to identify here indications of when and how transformations took place in the very form of representation of class on screens.