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.
The need for Hollywood to draw a more diverse audience, coupled with the rise in the Black Power movement in the late 1960s, helped to usher in the blaxploitation film
Instead, Tarantino is likely to have taken the idea from the 1975 blaxploitation film
Mandingo, which he has previously cited as a major influence.
Black Spectatorship, Black Masculinity, and Blaxploitation Film
," contrasts the surveillance of young African American men by the Los Angeles Police Department before, during, and after the 1965 uprising in Watts, with the often Hollywood-created blaxploitation films
that were produced in the years following this event.
99) A hitchhiker who accepts a lift from a hooker in her pulling wagon winds up in the slammer in this blaxploitation film
Somewhere between horror and comedy, this Blaxploitation film
occupies a strange place in interracial discourse.
The temporal pace of the blaxploitation film
propels Folks and Blue forward.
A press kit distributed in 1971 by Jerry Cross of Cinemation Industries promoting Melvin Van Peebles' seminal blaxploitation film
Sweet Sweetback's Baadasssss Song laid the scene of Van Peebles's picture thusly: