Decolonialidade e contravisualidade no cinema de horror negro brasileiro

This article aims to discuss Brazilian Black horror cinema, connecting it to a decolonial approach and the concept of counter-visuality, through an analysis of the short film Gênesis 22 (1999), directed by Jeferson De. To this end, it draws on the theoretical field of Cultural Studies, using a methodological tripod consisting of screen ethnography, critical visual methodology, and cultural analysis. It is understood that Black individuals, for many years, have faced a series of issues in the audiovisual world, related to invisibility and stereotyping, many of which unfortunately still persist. Thus, a reaction emerges with the rise of Black cinema, which begins to manifest a decolonial and counter-visual character. It is noted that this cinema refers to a broad cinema, encompassing even the horror genre. Through the analysis of Gênesis 22 (1999), by Jeferson De, the potential of Black cinema becomes evident, even in relation to the horror genre, significantly contributing to the reflection and problematization of hegemonic visualities. Moreover, it is a production that, despite its short duration, produces important lessons about the socio-cultural context from which it emerges.