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

By Stephane Dunn

This energetic examine unpacks the intersecting racial, sexual, and gender politics underlying the representations of racialized our bodies, masculinities, and femininities in early Nineteen Seventies black motion movies, with specific concentrate on the illustration of black femininity. Stephane Dunn explores the common, sexualized, subordinate positioning of ladies in economical blaxploitation motion narratives in addition to extra heavily radical movies like Sweet Sweetback's Baadasssss Song and The Spook Who Sat via the Door, during which black ladies tend to be 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 motion pictures within the early Nineteen Seventies that featured confident, empowered, and hard (or "baad") black girls as protagonists: Cleopatra Jones, Coffy, and Foxy Brown.

Dunn bargains shut exam of a unique second within the historical past of African American illustration in renowned cinema, tracing its emergence out of an intensive political period, inspired in particular by means of the Black energy flow and feminism. "Baad Bitches" and Sassy Supermamas also engages blaxploitation's impression and lingering charisma in modern hip-hop tradition as recommended through its annoying gender politics and the "baad whinge daughters" of cunning Brown and Cleopatra Jones, rappers Lil' Kim and cunning Brown.  

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

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Billboard pop charts back in 2000, has become conspicuously quiet career-wise, while a reported hearing loss and charges of assault and probation violations have kept her in entertainment headlines. The careers of other female rappers in the first decade of the new millennium—Trina, Missy Elliot, Eve, and Kelis—have become more visible.

41 Unfortunately, Foxy Brown’s late 1990s reformulation of Pam Grier’s “Foxy Brown” did not offer an image of black femininity that transgressed stereotypes of black femininity or the traditional performance of sexuality by black women in popular entertainment. One of the few best-selling female rap artists ever, Foxy Brown became best known for her successful participation in gangsta rap42 or hardcore rap resulting from her adaptation of the troubling nihilist values that permeate it. She perfected her profane, sexually explicit lyrics and her wild, sexual “tough bitch” image and boldly proclaimed material girl motivations.

She offers a crucial reading of the politics of gender infusing the black male gaze as well as the dominant racist and gendered gaze. 12 Such a reading exemplifies the phallocentric gaze structuring Sweetback, The 18 . “ba ad bitches” and sa ssy supermama s Spook, and many blaxploitation films that overtly offer sexualized fantasies of black phallic power that were intended to appeal particularly to a black heterosexual male viewership. Given these gendered politics, black female spectators have had to navigate a cinematic apparatus that situates their presence as “absence” and denies the black female body in order to reinforce or support white supremacy and the phallocentric gaze.

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