Baad Bitches and Sassy Supermamas: Black Power Action Films
This lively study unpacks the intersecting racial, sexual, and gender politics underlying the representations of racialized bodies, masculinities, and femininities in early 1970s black action films, with particular focus on the representation of black femininity. Stephane Dunn explores the typical, sexualized, subordinate positioning of women in low-budget blaxploitation action narratives as well as more seriously radical films like Sweet Sweetback's Baadasssss Song and The Spook Who Sat by the Door, in which black women are typically portrayed as trifling "bitches" compared to the supermacho black male heroes. The terms "baad bitches" and "sassy supermamas" signal the reversal of this positioning with the emergence of supermama heroines in the few black action films in the early 1970s that featured self-assured, empowered, and tough (or "baad") black women as protagonists: Cleopatra Jones, Coffy, and Foxy Brown._x000B__x000B_Dunn offers close examination of a distinct moment in the history of African American representation in popular cinema, tracing its emergence out of a radical political era, influenced especially by the Black Power movement and feminism. "Baad Bitches" and Sassy Supermamas also engages blaxploitation's impact and lingering aura in contemporary hip-hop culture as suggested by its disturbing gender politics and the "baad bitch daughters" of Foxy Brown and Cleopatra Jones, rappers Foxy Brown and Lil' Kim.
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"Baad bitches" and sassy supermamas: Black power action filmsUser Review - Not Available - Book Verdict
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 ... Read full review
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action ﬁlms African American appears audience baad bitch Baadasssss black action black femininity black ﬁlm black male black masculinity Black Power black women blaxploitation blaxploitation ﬁlms castration character Cleopatra Iones Coffy Coffy and Foxy Coﬂy critical deﬁning diva dominant drug empowerment exploitation fantasy female body feminism feminist ﬁght ﬁgure ﬁlm’s ﬁrst Foxy Brown Foxy’s Freeman gaze gender politics genre ghetto hero heroine heterosexual hip-hop historical Hollywood Ibid icon identiﬁcation imagery inﬂuence Lady Chatterley’s Lover lesbian Malcolm Malcolm X Melvin Van Peebles Mommy movie narrative ofblack offers ofthe Pam Grier Peebles persona personiﬁed phallic phallic power plays pleasure problematic prostitute race racial and gender racist radical rap music rapper reﬂects representation revolutionary role scene screen sexy signiﬁcant social soundtrack speciﬁcally spectacle spectators spectatorship Spook Super Fly supermama Sweetb Sweetback Tamara Dobson tion tough traditional urban viewers violent visual Vitroni white female white male white supremacist woman Yearwood