Michael Eric Dyson, Reflecting Black: African-American Cultural Criticism (Minneapolis: University of Minnesota Press, 1993) bell hooks, Outlaw Culture: Resisting Representations (New York: Routledge, 1994), and Reel to Real: Race, Sex and Class at the Movies ( New York: Routledge, 1996 ) Manthia Diawara (ed.), Black American Cinema ( New York: Routledge, 1993 ) See Donald Bogle, Toms, Coons, Mulattoes, Mammies, & Bucks: An Interpretive History of Blacks in American Films, 4th edn ( New York: Continuum, 2003 ) See Jonathan Munby, Public Enemies, Public Heroes: Screening the Gangster from Little Caesar to Touch of Evil ( Chicago: University of Chicago Press, 1999 ).
This process is experimental and the keywords may be updated as the learning algorithm improves.
These keywords were added by machine and not by the authors. Collectively categorized as ‘hood’ films, Straight Out of Brooklyn (1991), Boyz N the Hood (1991), New Jack City (1991), Juice (1992) and Menace II Society (1993) brought a sense of hardcore realism about the African-American inner-city experience that mainstream feature films had failed to represent adequately. Although small in number and short-lived, this cycle of ghetto-centric films tapped into an increasingly volatile climate of racial discontent fuelled most infamously by the televised airing of Los Angeles Police Department (LAPD) officers beating up black motorist, Rodney King, in 1991- an incident which sparked the Los Angeles rebellion one year later following the acquittal of the policemen involved.
In the early 1990s, a series of films made by African Americans focusing on the plight of the black inner city provoked mass media attention and an attendant moral panic.
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