Black Sexual Politics

Collins, Patricia Hill. 2004. Black Sexual Politics. New York: Routledge Press

Patricia Hill Collins follows up her previous work on black feminism with a book examining race and gender and how images of black sexuality have been used to further a divide between black men and women as well as reinforcing racist ideals on a global scale.  Collins examines current media (videos, film, and literature) and American culture to define how blacks (male and female) are sexualized and categorized based on stereotypes that are the antithesis of the ideal “white purity”. Collins defines this work as relying heavily on discourse analysis (4-5) to define the specifics of gender-based racism. Collins is methodical in her approach to the subject, drawing on her familiar lens of black feminism as well as sociological theories as it relates to gender, race and political implications.

I wanted to familiarize myself with other works by Collins and Black Sexual Politics also seemed like a natural fit to draw theory from for the type of theoretical “slant” in which I wanted to take my research project. With specific correlation to my project, Collins talks about the use of black women in 1970s blaxploitation film as either “sexual props” to black male heroes or in the case of Pam Grier, a “combination of beauty, sexuality and violence” (124). The conflict arises in the interpretation of the black female audience of Grier (and other blaxploitation female lead actors) to her portrayal of a black woman on screen? Is she what Collins calls a “black bitch” (125) or just asserting her authority in a male dominated celluloid world? Is Grier’s character authentic or contrived?  Furthermore, would modern, “Generation X” black women perceive characters such as Grier’s “Foxy Brown” or Dobson’s “Cleopatra Jones” in the same light?

The Ruse of Engagement: Black Masculinity and the Cinema of Policing

Sexton, Jared. 2009. The Ruse of Engagement: Black Masculinity and the Cinema of Policing. American Quarterly. 61 (1): 39-63

Sexton’s article addresses the intersection of black masculinity within films that deal with elements of “policing” and crime in the film industry. He uses director Antoine Fuqua’s Training Day starring Denzel Washington as a case study (although I argue that this is an accurate description of his analyses and methodology) in the discussion of perceptions of black “maleness” within the realms of cinema. In his assessment, Sexton analyzes past films with strong male leads, especially those starring Sidney Poitier made during the height of blaxploitation film making. Specifically, Sexton analyzes films in which black men are in positions of authority (i.e. police, detectives, investigators, etc) and how this was in stark contrast of society’s view of African-American men as subservient, threatening, unauthorized and unarmed (43). Comparatively, Sexton aligns the film making of Fuqua to those early blaxploitation film makers and discusses several ways in which modern films (particularly those with elements of policing/crime./authority) address similar issues of race, gender and sexuality.

I was particularly interested in several issues this article raises with respect to my own research interest.  The article raises issues of gender and sexuality with regard to African-American men in roles of “policing” yet there is no discussion of African-American women in those same roles. A good strategy in talking about  black masculinity in film is to juxtapose it against the display of “masculinity” in female roles of authority and policing.  There is only a cursory (albeit obligatory) mention of African-American women actors, specifically Halle Berry, and the message her role in Monster’s Ball may have sent with regards to gender and sexuality. The article is good in its assessment of masculinity in black cinema but fails in comparatively analyzing both male and female roles. It would have made the argument of black masculinity being subverted a lot stronger if  the subject was compared with similar female roles.

“Baad Bitches” and Sassy Supermamas: Black Power Action Film

Dunn, Stephane. 2008. “Baad Bitches” and Sassy Supermamas: Black Power Action Films  Chicago:  University of Illinois Press

Morehouse College assistant professor of English Stephane Dunn blends personal narrative with critical theory in her book- a comprehensive assessment via feminist theory, racial and political commentary and literary analysis of blaxploitation films. Moreover, the films that Dunn chooses to critically analyze are those that feature African-American women in lead roles (i.e. Coffy, Foxy Brown, Cleopatra Jones) as well as films that deliberately have African-American women in the peripheral. These films, and the early blaxploitation actresses, according to Dunn, lay the foundation of modern portrayals of African-American woman in film as well as the hip-hop, “Generation X” women who readily identify with the strong, powerful, “badass” stereotypes that are often glorified.  Furthermore, Dunn calls for a critical examination of these films beyond their status of “cult classics” as well as their impact on the modern African-American woman with regards to issues or race, gender, class and power/empowerment.

This book works extremely well by dealing with the intricate issues of race, sexuality, politics and gender within blaxploitation by applying historical analysis (i.e. reinforcing slave narratives in various films) in combination with modern interpretations and impacts of the genre on entertainment and society. Furthermore, issues specific to women (gender roles, rape, marginalization) are dealt with comprehensively. I believe because Dunn is of “Generation X” and has a familiarity with the genre and its impact; her personal tone and anecdotes work well as “openings” to her highly detailed, critical analysis chapters. The only negative is that Dunn tries to cover too many areas and often times certain passages lose their overall focus. Nevertheless, this is an extremely helpful resource written with a scholarly audience in mind.