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"This Is What's Real": The Pathology of Black Addiction in the Hood Films of the 1990s

"This Is What's Real": The Pathology of Black Addiction in the Hood Films of the 1990s “This Is What’s Real”: The Pathology of Black Addiction in the Hood Films of the 1990s curt hersey three dec ades ago, a group of black- Cultural critics have long maintained that directed films began to appear in theaters, lms fi and other media play a role in construct - addressing issues of over-policing and social ing popular concepts of minority groups. Robin justice. These “hood films,” as they came to R. Coleman, for instance, argues, “African Amer - be called, were directed almost exclusively icans and Blackness have, in part, become by young African American men and ch - al defined within the symbolic media culture and lenged media discourses about black lives, hence are a product of American mass media” the inner city, and the causes of poverty and (3). Scholars argue that the representation of violence. From 1991 to 1995, over twenty films groups within the media impacts public perc -ep were released as part of the hood-film cycle. tion of those groups. The media create a shared The genre focuses on the lived experiences of concept of minorities through the “trans - mis African Americans in the inner city and emp - ha sion and http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

"This Is What's Real": The Pathology of Black Addiction in the Hood Films of the 1990s

Journal of Film and Video , Volume 74 (1) – Apr 6, 2022

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Publisher
University of Illinois Press
Copyright
Copyright © The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

“This Is What’s Real”: The Pathology of Black Addiction in the Hood Films of the 1990s curt hersey three dec ades ago, a group of black- Cultural critics have long maintained that directed films began to appear in theaters, lms fi and other media play a role in construct - addressing issues of over-policing and social ing popular concepts of minority groups. Robin justice. These “hood films,” as they came to R. Coleman, for instance, argues, “African Amer - be called, were directed almost exclusively icans and Blackness have, in part, become by young African American men and ch - al defined within the symbolic media culture and lenged media discourses about black lives, hence are a product of American mass media” the inner city, and the causes of poverty and (3). Scholars argue that the representation of violence. From 1991 to 1995, over twenty films groups within the media impacts public perc -ep were released as part of the hood-film cycle. tion of those groups. The media create a shared The genre focuses on the lived experiences of concept of minorities through the “trans - mis African Americans in the inner city and emp - ha sion and

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Apr 6, 2022

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