Black Film and Television

Beyond Blaxploitation, the first book-length anthology of scholarly work on blaxploitation films, sustains the momentum that blaxploitation scholarship has recently gained, giving the films an even more prominent place in cinema history.

A pocket guide to the ever-popular world of Blaxploitation films which, provides an introductory essay defining the genre, a consideration of the major films and sub-genres, and a close look at Blaxploitation women, horror and kung fu movies. The major and currently available films are reviewed and analysed and a comprehensive bibliography/filmography is included as a guide to further reading and viewing.

Blaxploitation Cinema: The Essential Reference Guide is a comprehensive examination of the genre, its films, its trends and its far-reaching impact, covering every blaxploitation film in detail.

In the early 1970s, a type of film emerged that featured all-black casts, really cool soul, R'n'B and disco soundtracks, characters sporting big guns, big dashikis and even bigger 'fros and some of the meanest, baddest attitudes ever to shoot their way across the big screen. Blaxploitation Films considers this genre from the perspective of class and racial rebellion with over 60 blaxploitation movies reviewed and discussed.

This book examines how Cotton Comes to Harlem (1970), Blacula (1972), The Mack (1973), and Cleopatra Jones (1973) can be classified within the detective, horror, gangster, and cop action genres, respectively, and illustrates the manner in which the inclusion of "blackness" represents a significant revision to the aforementioned genres.

A comparative analysis of how mainstream and Blaxploitation horror films interpret and adapt classic Gothic tales.

In this book, Tim Stüttgen considers the paradigm of (post-)slavery as an important epistemological break within predominantely white Gender and Queer Studies, as well as within critical Film and Cultural Studies. Departing from what E. Patrick Johnson has proposed as a specifically intersectional »quAre«, instead of an »unmarked white queer perspective«, this book contrasts Deleuze’s cinema theory with Frantz Fanon, queer theories of color, the history of the African diaspora and utopian quAre futurisms to establish notions of a black locality, mobility and temporality in what Stüttgen calls the first emancipatory black cinema: Blaxploitation.

Reflections on Blaxploitation: Actors and Directors Speak is a collection of interviews with many of the men and women who defined the genre. In candid conversations, some of the most important figures of the era describe what it was like to work on these films and what impact they had on American culture.

Looks at the history of blaxploitation films, especially those featuring Melvin Van Peebles, Richard Roundtree, Jim Brown, Jim Kelly, Pam Grier, and Tamara Dobson.

This critical study examines the ways in which the blaxploitation heroines of the early 1970s reshaped the presentation of African American actresses on screen and, to a certain degree, the perception of African American women in general.