Violent remake of the 1972 blaxploitation film
stars Trevor Jackson as a drug dealer who must do one last deal before he leaves a life of crime behind him.
This book represents the first book-length anthology of scholarly work on blaxploitation film
, the volume has eleven essays employing historical and theoretical methodologies in the examination of spectatorship, marketing, melodrama, the transition of novel to screenplay, and racial politics and identity, among other significant topics.
And as past years have shown, even full-length Sundance features can become de facto pilots for TV series--from the 2009 live-action blaxploitation film
"Black Dynamite" that became an animated Adult Swim series to Soderbergh's film--and shorts like Funny or Die's 2010 entry "Drunk History," which jumped to Comedy Central.
Everyday Black politics and culture, outside of the pornographic and Blaxploitation film
industries, are not factored into her analysis.
When we first meet the Harlem kingpin in Wally Ferris's 1970 novel Across 110th--from which the blaxploitation film
"Across 110th Street" was adapted--we find him thus: "Seated in a high-back leather chair as though on a throne, he dominated the room with all the elegance of a potentate surrounded by his retinue....
The second illustration depicts a man in a suit befitting a gangster or an actor in a blaxploitation film
, reclining in the plush domestic interior of this structure.
Instead, Tarantino is likely to have taken the idea from the 1975 blaxploitation film
Mandingo, which he has previously cited as a major influence.
The temporal pace of the blaxploitation film
propels Folks and Blue forward.
Directed by Gordon Parks, Jr., who had made the classic blaxploitation film
Super Fly just a few years earlier in 1972, Aaron Loves Angela gives us a love story that is about differences that emerge from the racialized geography of Harlem.
At drive-ins and movie houses everywhere, audiences were introduced to a legend in the making: Pam Grier in her iconic role as the revenge fueled nurse Coffy, in the blaxploitation film
of the same name.
However, Itzkovitz notes a contrary impulse in movies like the Hebrew Hammer (2003), which provides another more complex, albeit ironic, notion of the "new Schlemiel" garnered from a parody of Blaxploitation film
and the appropriation of Jewish kitsch.
1971: Release of Sweet Sweetback's Baadasssss Song and Shaftusher in blaxploitation film