blaxploitation

You can't help but feel like you're watching a parody rather than a sincere tribute to female-led blaxploitation films like Foxy Brown, Cleopatra Jones or Coffy.

"The Man" is mostly MIA in this "Superfly," which takes more after Brian De Palma's "Scarface" and familiar hip-hop fantasies than anything channeled by the earlier Blaxploitation films.

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.

"In Street Poison, Gifford patiently crafts a narrative that shows how Beck, a Chicago pimp, became the godfather of hip-hop, an integral cog in Hollywood's Blaxploitation era and one of the most-read black authors of the 20th century.

I didn't know from blaxploitation, though I'd recently had a glancing encounter with the world it portrayed.

On the surface, Together Brothers seems to be one of the many films of the blaxploitation genre to be forgotten by mass audiences.

12 Years A Slave , brutally showcasing its blaxploitation theme, tops the second list for all foreign films released in India in a while.

Naar, a former William Morris agent who went on to produce blaxploitation vampire pies "Blacula" and "Scream Blacula Scream" as well as TV series "Starsky & Hutch," died Jan.

We examine twenty blaxploitation films in order to understand how racialized knowledge is transmitted for Black audiences, in turn reproducing oppression.

Womack composed and sang on the original version of the early Rolling Stones hit "It's All Over Now," played guitar behind Sam Cooke and Aretha Franklin, collaborated with Sly Stone, and scored the blaxploitation classic Across 110th Street.

This wide-ranging chapter ends with a discussion of blaxploitation films that suggests that the dissonance between the 1972 film Super Fly, which celebrates the life of a cocaine dealer while its anti-drug soundtrack powerfully exposes "the central problem of the postsegregation era," reveals the problem behind the central paradox, which is: "how to participate in American consumer culture and not be dirtied by it" (152).

And it reminds of nothing so much as the epic blaxploitation movie soundtracks from the early '70s produced by the likes of Curtis Mayfield and Marvin Gaye.

Grier rose to vibrant voice in the 1970s as the star of Coffy, Foxy Brown and other blaxploitation movies in which she played bold, crime-avenging characters.

Gates argues that the most progressive and feminist models of the female detective exist in mainstream film's more peripheral products, such as 1930s B moves and 1970s blaxploitation films.

Remake of the blaxploitation thriller, starring Samuel L Jackson.