Blaxploitation Films In The 1970's: Film Analysis

This is proof that this terrible act was very typical within slaveholding societies. Now, just because this relationship seems usual in the south, it does not mean everyone condoned it. The wives of many slave owners proved they were not okay with a white male and a black female relationship by the way they acted with “anger and resentment” towards other slaves (McLaurin, 26). Wives chose to ignore this behavior simply because if they didn’t, not only would their lives be in danger, but so would their children’s.

This gives us insight into how horrific things were back then. There was slavery, treating blacks as if they were property, beatings, rape, and no education for these African-Americans. Butler states, “It was dangerous to educate slaves...Education made blacks dissatisfied with slavery...The Methodist minister said it made them disobedient…”(Page 236) This quote emphasizes how blacks had little to no privileges in that time period, even something as simple as getting an education. As well, Butler mentions, “There was no shame in raping a black woman, but there could be shame for loving one.”(Page 124) This quote accentuates how it was entirely condoned to treat African-American slave women with no respect, as if they had no value besides for work and sex. On the contrary, in 1976, we witness that that way of thinking has passed since the interracial couple, Dana and Kevin, are happily married and he is actually capable of getting into trouble for hurting her when she comes home from the Weylin plantation with many bruises and scars. As you can see, the time periods have

Harris’s interest was the representational dialogic of racial difference within film and the real/representation dialect of cultural, gender, and sexual identity (Harris, 51). But the new images of black masculinity are problematic and limited. This was an operation of sorts, of “recoding masculinity from established, now historic, Hollywood codings of black men and black masculinity visualizes a more ambiguous, more discursive image, producing the meanings of an intricately constructed masculinity, more complexly dimensional than the submissive, docile Tom, or the morally corrupt, conniving, sexually threatening drug dealer” (Harris, 52). But these aggressive and politically charged black masculinities, now turned into these difficult ideological metaphors- they construct themselves from the existing “pop cultural and filmic representations of masculinity” (Harris, 52). Basically, Harris stated that black masculinity turned into a “fixed” culturally familiar/consumable construct; masculinity became reinforcement of singular, monologic meanings, only within different popular images. According to Robyn Weigman’s Feminism, The Boyz, and Other Matters Regarding the Male, Newsweek asserts, “Hollywood fades to black.” The primary images

While the 1970’s and 80’s marked a decline in movies featuring black actors and a lack of black directors, the mid 1980’s through the 1990’s invited a new generation of filmmakers and rappers, engaging with the “New Jack” image, transforming the Ghettos of yesteryears into the hood of today. A major director that emerged during this time was Spike Lee. According to Paula Massood’s book titled, Black City Cinema, African American Urban Experiences in Film, “…Lee not only transformed African American city spaces and black filmmaking practices, he also changed American filmmaking as a whole.” Lee is perhaps one of the most influential film makers of the time, likely of all time. He thrusted black Brooklyn into light, shifting away from the popularity of Harlem. By putting complex characters into an urban space that is not only defined by poverty, drugs, and crime, it suggests the community is more than the black city it once was, it is instead a complex cityscape. Despite them being addressed to an African American audience, Lee’s film attract a mixed audience. Spike lee’s Do the Right Thing painted a different image of the African American community, “The construction of the African American city as community differs from more mainstream examples of the represents black city spaces from the rime period, such as Colors…, which presented its African American and Mexican American communities through the eyes of white LAPD officers.”

The largest of his foundational chapters deals with sexual honor. Wyatt‐Brown paints a picture of a singularly depraved and sordid society. The essence of his argument centers on the dichotomy between women’s weakness and power. It would have been better argued from a different point of view about power and points of leverage instead of a stale discussion of women’s matriarchal power over hen‐pecked husbands balanced against the dependency of women and their requirement to marry to avoid barrenness and shame. He is particularly challenged by the ideal of a southern woman who is to be “not only ethereal but also hardworking, politically aware (though never ‘to mingle in discussion’), and prudent in household management” (p.35). I think he could have done a much better job in describing the black‐white sexual relations as well, while highlighting the differences and the social preeminence of the white classes over the black. This book is ultimately a one-dimensional study of a very complex society. I think it is written without objectivity. He never tells the story from the side of the white slave holders. Though most, if not all of his writing is true, this book only sheds light on one side of the topic and therefore cannot be taken as absolute

The movie's success depends on using dated stereotypes: "angry black woman," "thuggish black man," and "innocent" white women. White men,

White explores the master’s sexual exploitation of their female slaves, and proves this method of oppression to be the defining factor of what sets the female slaves apart from their male counterparts. Citing former slaves White writes, “Christopher Nichols, an escaped slave living in Canada, remembered how his master laid a woman on a bench, threw her clothes over her head, and whipped her. The whipping of a thirteen-year-old Georgia slave girl also had sexual overtones. The girl was put on all fours ‘sometimes her head down, and sometimes up’ and beaten until froth ran from her mouth (33).” The girl’s forced bodily position as well as her total helplessness to stop her master’s torture blatantly reveals the forced sexual trauma many African females endured.

In order to fully ascertain the gravity of negative archetypes, it is important to explore a common one. Donald Bogle is a film historian and lecturer at the Tisch School of the Arts at New York University. Bogle has authored a book entitled Coons, Mulattoes, Mammies, and Bucks: An Interpretive History of Blacks, in which he outlines a few of cinemas most infamous black architypes. The one most salient this this essay is that of brutal black buck. Bogle divides the brutal black buck into two subcategories: “black bucks” and “black brutes.”

The history of African Americans in early Hollywood films originated with blacks representing preconceived stereotypes. D.W. Griffith’s 1915 film, Birth of a Nation, stirred many controversial issues within the black community. The fact that Griffith used white actors in blackface to portray black people showed how little he knew about African Americans. Bosley Crowther’s article “The Birth of Birth of a Nation” emphasizes that the film was a “highly pro-South drama of the American Civil War and the Period of Reconstruction, and it glorified the role of the Ku Klux Klan” (76). While viewing this film, one would assert that the Ku Klux Klan members are heroic forces that rescue white women from sexually abusive black men. Griffith

Blaxploitation is a cultural subgenre of the exploitation films, and became extremely profitable. These films were originally made explicitly for the African American (then called Negro) urban audience. The new cinema was new as far as the new actors and messages, however the movies themselves some had buffoonery, and other embarrassing forms of entertainment for African Americans. Then came along this private detective that smashed some of the stereotypes blacks have been portrayed. He was strong, good looking, educated in not only in law, but he was very street savvy. On July 2 1971 enter Richard Roundtree as Shaft, and was featured in its two sequels as well who would redefine the stereotype of The Black Buck Brute. Historically there were other films that displayed African American men as strong positive ways who loved women, they weren’t slaves, and they were not the “No Sir, Yes Sir” type. They had a certain dignity to them. “Sweet Sweetback's Baadasssss Song”, “The Spook Who Sat by The Door”, and “Nothing but A Man” the men portrayed in each of these films were Shaft at that time was the quintessential movie to of its time that showed this. A rebellious black man who fought for the black community, who did not take any mess from anybody, went up against the white police department and black gangsters. Shaft had a purpose and a cause to his actions. He was

The book depicts the harsh realities of the lives of slave women and how many of them were bought for the sole purpose of becoming their master’s sexual objects, beginning at the early ages of 14. African American women and girls were raped and objectified by their masters. It has been documented that, “Masters had sex with their female slaves, impregnated them and then adhered to the wife’s wish to separate her children by selling them to another plantation”

According to Tukachinsky, Mastro, and Yarchi, prior to 1930, the role of Blacks on screen were seen involving mostly in criminality and idleness (540). That role still persists until the present, with Blacks usually have to withstand to “longstanding and unfavorable media stereotypes including sexually provocative females and aggressive male thugs” (Tukachinsky 540). 1970’s movies such as The Mack, Black Caesar and Coffy have reinforced this stereotypic image of the black community. The

Between 1970 and 1980 there was a cultural film explosion, there were over 200 films released by major and independent studios that hyped major black characters and themes. Prior to the Blaxploitation era black actors had been relinquished to playing small parts that usually presented stereotyped images of the black race with roles such as waitresses or shoeshine boys. This however all changed when in 1971 when the first successful black film "Sweetback's Baadasss Song" showed a black man coming out on top over the white establishment. The term blaxploitation both helped and destroyed the genre. While many blaxploitation films were box office successes, they also fueled the public's perception of blacks as cold-hearted heroes, gangsters,

Blaxploitation movies in American society were at an all time high in the 1970’s. They gained popularity during and after the civil rights movement due to the influence African Americans were having on society. The movie Coffy, directed by Jack Hill and release in 1973, is a great example of how Blaxploitation movies reinforced the stereotypes that already exist about black men and women. Young African American filmmakers, made lots of these types of movies in order to appeal to the young African American crowd. In the article “Baadasss Gangstas: The Parallel Influences, Characteristics and Criticisms of the Blaxploitation Cinema and Gangsta Rap”, by Dustin Engels, it says, “African American artists began using their mediums to appeal directly to black audiences in an attempt to spawn cultural movements that would display and bring to the forefront the cultural, social and economic struggles of the African American experience.” The African American that was originally making these films had a positive purpose and wanted to spread social consciousness in the best way they could.

From the very beginning of the early stages in American cinema, African Americans had a presence on the silver screen. The twentieth century created a new era of cinema that consisted of films produced for and targeted to an all-Black audience. “Race films” which existed in the United States for over thirty years (1913-1948), were films produced by African Americans that focused on Black themes and highlighted the talents of African American directors, producers, scriptwriters, and actors.