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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 greenbacks, whereas the mammy and tragic mulatto archetypes circumscribed black femininity. This misrepresentation started to switch within the Nineteen Fifties and Nineteen Sixties while performers corresponding to Dorothy Dandridge and Sidney Poitier have been forged in additional confident roles. those performers lead the way for the black exploitation or blaxploitation stream, which begun in 1970 and flourished until eventually 1975. The stream is characterised via motion pictures that characteristic a black hero or heroine, black helping characters, a predominately black city environment, a show of black sexuality, over the top violence, and a modern rhythm and blues soundtrack. Blaxploitation motion pictures have been made throughout various genres, however the questionable components of a few of the images triggered them to be often called "blaxploitation" movies with very little regard given to their everyday categorization. This e-book examines how Cotton involves Harlem (1970), Blacula (1972), The Mack (1973), and Cleopatra Jones (1973) could be categorized in the detective, horror, gangster, and cop motion genres, respectively, and illustrates the way within which the inclusion of "blackness" represents an important revision to the aforementioned genres.

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Blaxploitation Films of the 1970s: Blackness and Genre (Studies in African American History and Culture) by Novotny Lawrence


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