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Blaxploitation Films

The term blaxploitation films refers to a series of films released between 1969 and 1974 that featured a primarily black cast and whose narratives focused on the contemporary black urban experience. Grounded in the action-adventure genre, these films were usually low-budget Hollywood productions geared toward the black youth market.

The blaxploitation period was preceded by several shifts in America's sociopolitical landscape. In the context of World War II, the United States felt vulnerable to charges that the country's racist practices were similar to the extreme nationalism exhibited by Germany and Japan. This started a thrust toward inclusion that resulted, among other things, in an agreement in 1942 between the NAACP (National Association for the Advancement of Colored People) and heads of the major studios to increase the participation of blacks in the film industry. Hollywood responded to the charges with an attempt to improve the representation of blacks on screen. The 1950s became known as the era of integration in American cinema and led to the rise of actors such as Sidney Poitier, Dorothy Dandridge, and Harry Belafonte. Poitier in particular came to symbolize the integrationist hero by starring in vehicles that cast him as a conservative, intelligent, sexually neutral, culturally ambiguous figure who posed no threat to the white establishment. He was the model of black respectability for white audiences as well as for a certain segment of the black community. Blacks who desired assimilation into the dominant culture generally embraced Poitier, but others rejected him because of his characters' unwillingness to articulate their oppression and rage.

The Black Persona of the 1960s

By the late 1960s, Hollywood had begun to respond to the desire of black audiences for a more assertive black film star, and Jim Brown, a former all-star football player with an appealing personality and arresting physical presence, proved to be exactly what Hollywood was looking for. Though black audiences initially welcomed Brown's aggressive film persona, they grew increasingly weary of the way in which his characters' emerging militancy was continually undermined by their support of the white power structure. Eventually, it became clear that Hollywood's typecasting of Brown in roles that required physical strength rather than emotional depth merely signaled a return to the caricature of the black buck popularized in early American cinema.

Hollywood's increasing interest in black-oriented films in the 1970s was the result of a financial crisis that left the industry on the verge of economic collapse. The advent of television and the expansion of the foreign film market after World War II steadily cut into the studios' profit margin. At the same time, middle-class whites were vacating urban areas for the developing suburbs, leaving cities to their black citizens. Though blacks made up only 11% of the population in 1970, they accounted for 30% of movie audiences in the urban areas where theaters were traditionally located. Studio executives had begun to notice this shift in racial demographics several years earlier, and they came to believe that the key to their financial solvency was the production and distribution of a film product specifically geared to the black community.

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