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Hood film
Hood film is a 1990s film genre originating in the United States, which features aspects of urban African American or Hispanic American culture. John Singleton, Mario Van Peebles, F. Gary Gray, Hughes Brothers, and Spike Lee are all directors who have created work typically classified as part of this genre. The genre has been identified as a sub-genre of the gangster film genre.
The genre has since spread outside the U.S., to places such as the United Kingdom and Canada.
Hood films have been variously described under a wide-array of names by critics, such as 'street-gang', 'ghetto-centric', 'action-crime-adventure', 'gangsta rap films', 'black action films', 'new black realism', 'new jack cinema', and 'black urban cinema'. Spike Lee disparagingly referred to the genre as 'hiphop, urban drama, ghetto film'.
Characteristics include hip hop music (including gangsta rap), street gangs, racial discrimination, organized crime/gangster, gang affiliation scenes, drug use and trafficking, and the problems of young people coming of age or struggling amid the relative poverty and violent neighborhoods. Hood films tell predominantly masculine stories, however some films within the genre (such as Set It Off) have women-focused stories.
British hood films also use music genres such as grime, and generally depict aspects of urban Black British culture, particularly within inner-city London.
Critic Murray Forman notes that the "spatial logic" of hip-hop culture, with heavy emphasis on place-based identity, locates "black youth urban experience within an environment of continual proximate danger," and this quality defines the hood film. In a 1992 essay in Cineaction, Canadian critic Rinaldo Walcott identified the hood film's primary concerns as issues of masculinity and "(re)gaining manhood for black men."
Early notable releases in the hood film genre include Colors (1988) and Do the Right Thing (1989). The latter in particular has been credited with ushering in the hood film zeitgeist in the 1990s due to its popular success.
Critics such as Murray Forman have credited the popular emergence of hood-films with the simultaneous emergence of gangsta rap as a popular music genre in the 1990s, wherein the hood film genre reached the height of its popularity due to the acclaim of the films New Jack City, Boyz n the Hood, Juice, the Sundance-winning Straight Out of Brooklyn and Menace II Society. Gangsta rap and hood films formed a symbiotic relationship, and many rappers of the era appeared in popular hood films at the time. With the plethora of films both dramas and comedies, hood films of the 1990s are in a sense neo-Blaxploitation films and Mexploitation films. The genre has also been parodied with such films as Don't Be a Menace to South Central While Drinking Your Juice in the Hood and Friday.
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Hood film
Hood film is a 1990s film genre originating in the United States, which features aspects of urban African American or Hispanic American culture. John Singleton, Mario Van Peebles, F. Gary Gray, Hughes Brothers, and Spike Lee are all directors who have created work typically classified as part of this genre. The genre has been identified as a sub-genre of the gangster film genre.
The genre has since spread outside the U.S., to places such as the United Kingdom and Canada.
Hood films have been variously described under a wide-array of names by critics, such as 'street-gang', 'ghetto-centric', 'action-crime-adventure', 'gangsta rap films', 'black action films', 'new black realism', 'new jack cinema', and 'black urban cinema'. Spike Lee disparagingly referred to the genre as 'hiphop, urban drama, ghetto film'.
Characteristics include hip hop music (including gangsta rap), street gangs, racial discrimination, organized crime/gangster, gang affiliation scenes, drug use and trafficking, and the problems of young people coming of age or struggling amid the relative poverty and violent neighborhoods. Hood films tell predominantly masculine stories, however some films within the genre (such as Set It Off) have women-focused stories.
British hood films also use music genres such as grime, and generally depict aspects of urban Black British culture, particularly within inner-city London.
Critic Murray Forman notes that the "spatial logic" of hip-hop culture, with heavy emphasis on place-based identity, locates "black youth urban experience within an environment of continual proximate danger," and this quality defines the hood film. In a 1992 essay in Cineaction, Canadian critic Rinaldo Walcott identified the hood film's primary concerns as issues of masculinity and "(re)gaining manhood for black men."
Early notable releases in the hood film genre include Colors (1988) and Do the Right Thing (1989). The latter in particular has been credited with ushering in the hood film zeitgeist in the 1990s due to its popular success.
Critics such as Murray Forman have credited the popular emergence of hood-films with the simultaneous emergence of gangsta rap as a popular music genre in the 1990s, wherein the hood film genre reached the height of its popularity due to the acclaim of the films New Jack City, Boyz n the Hood, Juice, the Sundance-winning Straight Out of Brooklyn and Menace II Society. Gangsta rap and hood films formed a symbiotic relationship, and many rappers of the era appeared in popular hood films at the time. With the plethora of films both dramas and comedies, hood films of the 1990s are in a sense neo-Blaxploitation films and Mexploitation films. The genre has also been parodied with such films as Don't Be a Menace to South Central While Drinking Your Juice in the Hood and Friday.