In
an attempt to appeal to African-American audiences in the 1970s, Hollywood
began making films centered on urban African-American protagonists, and the
blaxploitation film genre was born. In these films, the protagonist was
typically “violent, flashy, and charismatic” (Benshoff and Griffin 88); a
super-fly, sexualized black man, fighting the system and representing black
power.
The
blaxploitation genre first became popular in the 1970s, with films like Shaft (1971) and Superfly (1972). Hollywood studios were satisfied by their appeal
to both African-American and white audiences. But it wasn’t long before
blaxploitation films began receiving criticism. Not only do these films
extremely employ the use of negative stereotypes, they also often glorify
illegal activity. As Benshoff and Griffin put it: “What kind of a role model
for impressionable inner-city youth is a sexy, super-cool cocaine dealer?”
(89). In response to this criticism, Hollywood held off from making more
blaxploitation films, at least for a while.
 |
| I can hear the theme song now... |
The
1990s saw a resurgence of blaxploitation films. These “neo-blaxploitation”
films were considered so because they were often violent gangster genre films.
Similar to the 1970s, these films were popular, but received criticism for glorifying
violence and crime; “the films promote a black macho criminal-capitalist ethic
and are often violently sexist and homophobic” (Benshoff and Griffin 95).
Despite
this trend of blaxploitation films receiving criticism for their negative
portrayals, we still see characteristics of the blaxploitation genre. The film Undercover Brother (2002) is a parody of
the blaxploitation genre, and thus upholds many characteristics of the typical
blaxploitation film. The protagonist is Undercover Brother (Eddie Griffin), who
is recruited by the all-black agency, the B.R.O.T.H.E.R.H.O.O.D., to help stop
the evil plot of “The Man” (literally). Griffin plays the typical
blaxploitation protagonist: a super-fly, Cadillac driving, funky brother whose
style is straight out of the 1970s. Undercover
Brother is a perfect example of how Hollywood continues to employ
characteristics blaxploitation. This film is a modern day rendition of the
classic 1970s blaxploitation film.
Another
blaxploitation parody came out even more recently: Black Dynamite (2009). Similar to Undercover Brother, Black
Dynamite is mocking blaxploitation films, and is thus very similar to them.
I personally have not seen this one, but the storyline doesn’t surprise me:
“Black Dynamite is the greatest African-American action star of the 1970s. When
his only brother is killed by The Man it’s up to him to find justice” (Black
Dynamite).
Even
when films aren’t directly spoofing on blaxploitation, they still often employ
certain characteristics of blaxploitation. Films like Soul Plane (2004), Pulp
Fiction (1994), How High (2001), Half Baked (1998), and Get Rich or Die Tryin’ (2005) are all
examples of modern films that use characteristics of blaxploitation. In such
films we still see drug dealing, womanizing, and stereotypes being associated
with African-Americans.
Despite
the popularity of blaxploitation films, they are essentially portraying
negative stereotypes of African-Americans. Currently, there may not be
quintessential blaxploitation films being released, but we still see many
spoofs on and characteristics of this genre in films. While African-Americans
have made great progress in equality, Hollywood continues to portray the race stereotypically.
Works Cited
Benshoff, Harry
M. and Sean Griffin. America On Film:
Representing Race, Class, Gender, and Sexuality at the Movies. 2nd
ed. Wiley-Blackwell, 2009. Print.
“Black Dynamite
(2009).” IMDb. IMDb.com, Inc. Web. 29
Nov. 2012.
Undercover Brother. Dir. Malcolm D. Lee.
Perf. Eddie Griffin. Universal Pictures, 2002. Film.
Image: http://www.imdb.com/title/tt0067741/
Image: http://www.matttrailer.com/undercover_brother_2002
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