Past, Present, and Future: An Examination of the Hood and Historical Fi

guild has always been influential to fads that argon displaced throughout media the public witnesses a treat mirror of themselves and current culture portrayed on movie screens, musical lyrics, and televisions scripts. During the 1990s, Afro-American filmmakers depicted stereotypical char youth and culture in films such as Do the Right Thing (1989) and Menace II Society (1993), otherwise known as the crownwork films. However, as more to the popularity and success of the hood films, there was great opposition to it. Historical movies the likes of Daughters of the Dust (1991) and Devil in a Blue Dress (1995) were created to grapple against hood films to portray a different African-American community that is non racialized. I am going to compare and contrast both the hood and historical films Edward Guerrero and Paula Massood both believed that the hood film was created for the benefit of portraying human race in African-American communities. Yet, Mark Berrettini, Joel Brouwer , Roger Berger, and Marilyn Wesley argue that the hood films are counterfactual to partnership and historical films are necessary to show a compulsory African-American culture.Mirroring the anger and frustration of the African-American community of the 1960s-1970s, 1990s black filmmakers created the hood film. Like the Blaxploitation era, the film industry noted an increase in moviegoers and films to watch hood films. Both 1960s and 1990s, African-Americans were frustrated with their political and economical conditions in urban environments and addressed their anger towards making movies (Guerrero 159). It became Hollywoods strategy to create an answer to black frustration with movies that illustrated social gouge in the ghetto (Guerrero 158). Hollywood also portrayed the ... ...he black population. Paula Massood and Edward Guerrero believed that hood films were internal to illustrate the social frustration of young African-American communities within urban communities. Althou gh youth of color were criminalized and violent, it illustrated a hard truth for the greater society emphasizing the need for social and economic help in deprive environments. On the other hand, Mark Berrettini, Joel Brouwer, Roger Berger, and Marilyn Wesley argue that historical films represented a community that was lost to the hood films an African-American community that is resilient and gamey during times of slavery and racial inequality. Historical films are genuine for African-American communities because they displayed a positive outlook of their culture. Ultimately, both the hood and historical films are realistic to the African-American communities.