"Baad bitches" and sassy supermamas : Black power action films / Stephane Dunn.

By: Dunn, Stephane, 1967-Material type: TextTextSeries: JSTOR eBooksNew Black studies series: Publisher: Urbana : University of Illinois Press, ©2008Description: 1 online resource (xv, 166 pages)Content type: text Media type: computer Carrier type: online resourceISBN: 9780252091049; 0252091043Other title: "Baad bitches" & sassy supermamas [Cover title]Subject(s): Blaxploitation films -- United States -- History and criticism | Action and adventure films -- United States -- History and criticism | African American women heroes in motion picturesAdditional physical formats: Print version:: "Baad bitches" and sassy supermamas.DDC classification: 791.43/652996073 LOC classification: PN1995.9.N4 | D86 2008Online resources: Click here to view this ebook.
Contents:
Race, gender, and Black action fantasy -- The pleasure of looking : black female spectatorship and the supermama heroine -- Black power and the new baad cinema -- What's sex and women got to do with it? : sexual politics and revolution in Sweetback and The spook -- Race, gender, and sexual power in Cleopatra Jones -- Sexing the supermama : racial and gender power in Coffy and Foxy Brown -- Superbaad for the twenty-first-century screen.
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Electronic Book UT Tyler Online
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PN1995.9.N4 D86 2008 (Browse shelf) https://ezproxy.uttyler.edu/login?url=http://www.jstor.org/stable/10.5406/j.ctt2ttfnn Available ocn654312756

Includes bibliographical references (pages 149-156) and index.

Introduction. Race, gender, and Black action fantasy -- The pleasure of looking : black female spectatorship and the supermama heroine -- Black power and the new baad cinema -- What's sex and women got to do with it? : sexual politics and revolution in Sweetback and The spook -- Race, gender, and sexual power in Cleopatra Jones -- Sexing the supermama : racial and gender power in Coffy and Foxy Brown -- Afterword. Superbaad for the twenty-first-century screen.

Print version record.

Reviews provided by Syndetics

Library Journal Review

Dunn (English, Morehouse Coll.) provides a scholarly analysis of the image of the female African American action hero (e.g., Coffy, Foxy Brown, and Cleopatra Jones) of the early 1970s blaxploitation films as created by the male-dominated movie industry. She shows how the black power movement, also male dominated, had a direct influence on how these supertough sex kittens were presented on the big screen. Dunn also addresses how they were viewed by audiences, both black and white, and provides evidence of how these same personas reemerged in some of the black female rap stars of the 1990s, such as Lil' Kim and Foxy Brown, with the same no-holds-barred toughness and individuality. Dunn puts the whole blaxploitation experience into logical context, explaining the social conditions of the era relating to race and gender that affected how the black community observed these films and how the biggest studio culprit, American International Pictures, displayed a white society's imagined perspective of African American reality. An essential companion to the black film studies genre. Recommended for academic libraries and any library with a serious film studies collection. (Contains strong adult language.)--Richard A. Dickey, Washington, DC (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

CHOICE Review

This sharply observed, well-written survey of African American action films of the 1970s, the period when "blaxploitation" films briefly dominated the American box office, pays special attention to such groundbreaking films as Melvin Van Peebles's Sweet Sweetback's Baadasssss Song, Ivan Dixon's The Spook Who Sat by the Door, Jack Starrett's Cleopatra Jones, and Jack Hill's Coffy and Foxy Brown. But Dunn goes much further into these films than scholars of previous studies have, astutely "unpacking" these films (and others) to examine their sexual politics, feminist revisioning (or lack thereof) of the African American female body, and the ways in which popular "black action" films both construct and reinforce gender and race roles. And the book is not anchored solely in the work of this era: Dunn's argument extends to similar more recent films, such as F. Gary Gray's Set It Off (1996), and demonstrates how the role presented in the "black action" films of the 1970s has been modified, deconstructed, and recast in new, intriguing ways to interrogate the changing nature of African American cultural and social politics. Summing Up: Highly recommended. All readers, all levels. G. A. Foster University of Nebraska--Lincoln

Author notes provided by Syndetics

Stephane Dunn is a visiting assistant professor of English at Morehouse College.

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