By Novotny Lawrence
During the early years of the movie undefined, black performers have been frequently depicted as shuckin’ and jivin’ caricatures. in particular, black men have been portrayed as toms, coons and dollars, whereas the mammy and tragic mulatto archetypes circumscribed black femininity. This misrepresentation started to switch within the Fifties and Nineteen Sixties whilst performers equivalent to Dorothy Dandridge and Sidney Poitier have been forged in additional optimistic roles. those performers lead the way for the black exploitation or blaxploitation circulation, which started in 1970 and flourished until eventually 1975. The move is characterised via movies that characteristic a black hero or heroine, black assisting characters, a predominately black city atmosphere, a show of black sexuality, over the top violence, and a latest rhythm and blues soundtrack. Blaxploitation movies have been made throughout various genres, however the questionable parts of a few of the images prompted them to be often called "blaxploitation" movies with very little regard given to their regular categorization. This ebook examines how Cotton involves Harlem (1970), Blacula (1972), The Mack (1973), and Cleopatra Jones (1973) might be categorized in the detective, horror, gangster, and cop motion genres, respectively, and illustrates the style during which the inclusion of "blackness" represents an important revision to the aforementioned genres.
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Additional info for Blaxploitation Films of the 1970s: Blackness and Genre (Studies in African American History and Culture)
Protect them? Feed them? It was an opium pipe smoker’s dream. But it was perfect for a con. And that was my story” (My Life 258). In addition to providing commentary about these aspects of African American history, Cotton also contains humor and wit. However, Cotton was not the first detective film to make humor central to the narrative. Perhaps the most well-known detective films to do so are the films in W. S. Van Dyke’s Thin Man series, which feature the detective duo Nick and Nora Charles, whose glamour and upper-class status aid the team in solving 36 Blaxploitation Films of the 1970s murder cases.
In Film/Genre, Rick Altman regards genres as processes and hypothesizes: “New cycles are usually produced by associating a new type of material or approach with already existing genres” (60). Again, the current volume proposes that the new material that is added to existing genres is blackness. This addition extended beyond the creation of a new genre because it inspired a new movement or cycle of films. Furthermore, Altman also theorizes, “When conditions are favourable, single studio cycles can be built into industry-wide genres” (61).
Ed” (1965), and “Green Acres” (1966). Foxx later starred in his own television series titled “Sanford and Son” (1972–1977). Cotton tells the story of Reverend Deke O’Mally, a preacher and a con man, who has organized a Back to Africa crusade and swindled $87,000 from poor people in Harlem. However, O’Mally is not alone in his racket. He has a white partner named Calhoun (J. D. Cannon), who seizes the money, escapes in a meat truck, and hides the cash in a bale of cotton. During a chase sequence in which Calhoun is followed by O’Mally, and both are pursued by Gravedigger Jones and Coffin Ed Johnson, the bale bounces from the truck and is found by Uncle Bud, who sells it as a prop to a stripper.
Blaxploitation Films of the 1970s: Blackness and Genre (Studies in African American History and Culture) by Novotny Lawrence