Sentences with phrase «blaxploitation films in»

Todd Boyd, professor at the USC School of Cinematic Arts, pointed to the explosion of blaxploitation films in the 1970 which were cheap to produce and financial hit.

The Blaxploitation films in the 1970s gave black audiences their own heroes: Shaft, Cleopatra Jones, Coffy, Slaughter, Foxy Brown.

Not exact matches

An African - American supporting actor, onscreen from 1972, Blakely often appeared in blaxploitation films.

For credibility and weight, Wayans intuitively cast blaxploitation vets Isaac Hayes, Bernie Casey, and Jim Brown in leading roles; the film also features Chris Rock's debut.

He changed the ethnicity of the lead female character in Leonard's novel from the white Jackie Burke to a black Jackie Brown which allowed him to cast Pam Grier and reference her blaxploitation films «Foxy Brown» and «Coffy» as well as, employing the use of Bobby Womack's «Across 110th Street».

It is no surprise that the master of cinematic homage's makes a film that is part Western part blaxploitation film about a slave in search of his wife and revenge.

There are many moments when the true demeanor of the original and other blaxploitation films come in — that is when the film works.

Quentin Tarantino has dabbled in just about every genre at this point in his career, so it's only natural that he would try his hand at a Western, although «Django Unchained» is actually more of a genre mash - up between a spaghetti western and a blaxploitation film, with all the musical cues, whip pans and other stylistic flourishes that both genres are known for.

In an era where so many films are merely stealing elements from each other, The Mack emerges as one of the most unique, and even if it lacks the focus and jointed structure to call it a great film for mainstream viewers, it is well worth seeking out for fans of not only Blaxploitation films, but gritty crime dramas in generaIn an era where so many films are merely stealing elements from each other, The Mack emerges as one of the most unique, and even if it lacks the focus and jointed structure to call it a great film for mainstream viewers, it is well worth seeking out for fans of not only Blaxploitation films, but gritty crime dramas in generain general.

In the midst of the fight for civil rights, and at a time when Blaxploitation films were in full stride, here we have a film that delves into the very same themes, though in the guise of apes instead of our fellow maIn the midst of the fight for civil rights, and at a time when Blaxploitation films were in full stride, here we have a film that delves into the very same themes, though in the guise of apes instead of our fellow main full stride, here we have a film that delves into the very same themes, though in the guise of apes instead of our fellow main the guise of apes instead of our fellow man.

Blaxploitation got its own vampire in a pair of films starring Shakespearean actor William Marshall.

After dabbling in just about every genre at this point in his career, it was only natural that he would eventually try his hand at making a Western, even if «Django Unchained» is more of a genre mash - up between a spaghetti western and a blaxploitation film, complete with all the musical cues, whip pans and other stylistic flourishes.

Into the mix comes an evil capitalist (the inexcusably - named Steven Reign (Alan King)-RRB-, a stacked Latina secret service agent (Roselyn Sanchez), and Don Cheadle in a bizarre cameo that cozily recalls a few Pam Grier blaxploitation films.

A film that already starts out oddly enough — as a kind of subversive biopic about a low point in Miles Davis» life — gets even stranger as it morphs into an ode to «70s blaxploitation movies, before a third act in which it completely disables the brakes.

Friday Foster was the last film she made for American International Pictures, and in some ways is the apotheosis of the entire early 1970s «blaxploitation» genre.

With this trio of early - to - mid -»70s blaxploitation films, Pam Grier carved out a unique niche for herself and became one of the biggest stars in America while working entirely outside the studio system.

«grown - ish» star Trevor Jackson stars in an update of the»70s blaxploitation film about a young Harlem drug - dealer, this time set in Atlanta among the thriving hip - hop scene.

In the 70s, as new black heroes emerged from Blaxploitation films to grapple with the racial, social, economic and political issues of the day, Marvel's writers once more attempted to make Black Panther more openly political.

If contemporary audiences respond to these new films with the same enthusiasm that audiences responded to blaxploitation back in the 70s, then this would indicate an especially triumphant return.

Using high - quality film stills and boxed sections focusing on major themes and personalities, Lace takes the reader through the early blackface actors, the servant roles so prevalent in Depression - era cinema, the broadened awareness of African Americans following WWII, the blaxploitation films of the 1960s, and the impact of Spike Lee's 1989 film, Do the Right Thing.

In Telegraph Avenue, Luther Stallings, Archy's dad, was once a star in blaxploitation films that were all the rage in the»70In Telegraph Avenue, Luther Stallings, Archy's dad, was once a star in blaxploitation films that were all the rage in the»70in blaxploitation films that were all the rage in the»70in the»70s.

In Telegraph Avenue, Chabon lovingly creates a world grounded in pop culture — Kung Fu,»70s Blaxploitation films, vinyl LPs, jazz and soul music — and delivers a bravura epic of friendship, race, and secret historieIn Telegraph Avenue, Chabon lovingly creates a world grounded in pop culture — Kung Fu,»70s Blaxploitation films, vinyl LPs, jazz and soul music — and delivers a bravura epic of friendship, race, and secret historiein pop culture — Kung Fu,»70s Blaxploitation films, vinyl LPs, jazz and soul music — and delivers a bravura epic of friendship, race, and secret histories.

[6] Ofili's paintings also make reference to blaxploitation films and gangsta rap, seeking to question racial and sexual stereotypes in a humorous way.

In her elaborate, large - scale paintings, Mickalene Thomas (born 1971) has engages the tension between a personal investigation of eroticism, beauty, and black femininity and a critique of the overt sexual imagery prevalent in popular culture and media — from Blaxploitation film heroines like Cleopatra Jones to the construction of middle - class, African - American taste in Ebony magazinIn her elaborate, large - scale paintings, Mickalene Thomas (born 1971) has engages the tension between a personal investigation of eroticism, beauty, and black femininity and a critique of the overt sexual imagery prevalent in popular culture and media — from Blaxploitation film heroines like Cleopatra Jones to the construction of middle - class, African - American taste in Ebony magazinin popular culture and media — from Blaxploitation film heroines like Cleopatra Jones to the construction of middle - class, African - American taste in Ebony magazinin Ebony magazine.

His 2010 wall painting Credit Roll reproduced the names of blaxploitation films of the 1970s in white text over brown paint.

In two works on view, Cyrus investigates the relationship between individuals and cultures at large, drawing from an archive of African - American political and cultural history that includes abolitionist John Brown, the Black Panthers, and Blaxploitation films.

Ofili's painting also references blaxploitation films and gangsta rap often to question racial and sexual stereotypes in a humorous way.

From Birth of a Nation in the early 1900s to the «Blaxploitation» films of the 1970s, Black women were type - casted as carnal and promiscuous, often as prostitutes or «jezebels.»

BadAsssss Cinema is a feature documentary in which Isaac Julien explores the 70s hollywoodian film genre known as blaxploitation and its trajectory in American cinema and society.

The fact that a flashy painting of three black women, who look like they just stepped out of a 1970S blaxploitation film, could be hanging in the West 53rd Street window of the Museum of Modern Art's eatery astonished the artist.

Mickalene Thomas (b. 1971, Camden, New Jersey) uses the visual language of 1970s Blaxploitation films to reconsider the sexualization of the black woman in popular culture.

In his extremely diverse oeuvre, Ofili has taken imagery and inspiration from such disparate, history - spanning sources as the Bible, hip - hop music, Zimbabwean cave paintings, Blaxploitation films, and William Blake's poems.

She engages with the tension between a personal investigation of eroticism, black femininity and beauty and a pop - cultural critique of the overt sexual imagery prevalent in the media — from Blaxploitation film heroines like Cleopatra Jones to the construction of middle - class, African - American taste in Ebony magazine.