Download "Baad Bitches" and Sassy Supermamas: Black Power Action by Stephane Dunn PDF

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By Stephane Dunn

This full of life learn unpacks the intersecting racial, sexual, and gender politics underlying the representations of racialized our bodies, masculinities, and femininities in early Nineteen Seventies black motion motion pictures, with specific specialize in the illustration of black femininity. Stephane Dunn explores the common, sexualized, subordinate positioning of ladies in good value blaxploitation motion narratives in addition to extra heavily radical movies like Sweet Sweetback's Baadasssss Song and The Spook Who Sat through the Door, during which black ladies are usually portrayed as trifling "bitches" in comparison to the supermacho black male heroes. The phrases "baad bitches" and "sassy supermamas" sign the reversal of this positioning with the emergence of supermama heroines within the few black motion movies within the early Seventies that featured confident, empowered, and difficult (or "baad") black ladies as protagonists: Cleopatra Jones, Coffy, and Foxy Brown.

Dunn bargains shut exam of a special second within the background of African American illustration in well known cinema, tracing its emergence out of an intensive political period, stimulated specifically by way of the Black strength flow and feminism. "Baad Bitches" and Sassy Supermamas also engages blaxploitation's influence and lingering charisma in modern hip-hop tradition as steered by way of its worrying gender politics and the "baad whinge daughters" of cunning Brown and Cleopatra Jones, rappers Lil' Kim and cunning Brown.  

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Extra resources for "Baad Bitches" and Sassy Supermamas: Black Power Action Films

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The crucial feat is not to view the texts as having complete or dominant control over viewing positions, though the film controllers may have intended spectators and their expectations in mind. We must also avoid the other extreme of viewing movies as only offering positions created by viewers. 10 It is especially challenging to attempt to shed light on black female spectatorial desire, since it has been largely ignored in mainstream and feminist film criticism. Fortunately, black cultural and film critics such as bell hooks, Jacqueline Bobo, and Manthia Diawara, among others, have offered the beginnings of a developing body of black film criticism highlighting race and gender and offering some particular focus on black women viewers.

While the younger generation viewers tended to demonstrate less antagonism toward the explicit relationship of sex and female power drawn in the films, black women across class and age were quite savvy about recognizing how the character representations of the superheroines were shaped by, as one sister wrote, a “white man’s fantasy vision” that somewhat celebrated stereotypes of black female sexuality. Quite a few women, of the seventy-five or so who replied, also noted the difference between the overt exploitative aspects of Coffy and Foxy Brown and the rather sophisticated presentation of a black superwoman in Cleopatra Jones.

And if those have been created, is it possible to create new ones? ”27 In spite of its sexist nature and violent overtones, women have long begun to participate successfully in hardcore rap, proving that they can be “iller” (naughtier) or at least just as “ill” as their male counterparts. Two of the most commercially successful of these rappers, Lil’ Kim and Foxy Brown, have come under the most critical scrutiny, especially from various black women cultural critics and feminists. 28 It is crucial that we continue to interrogate representations of black female sexuality in popular culture, including global hip-hop culture and rap music: “Popular culture provides countless examples of black female appropriation and exploitation of ‘negative stereotypes’ to either assert control over the representation or at least reap the benefits of it.

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