Word: sweetback
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Although Lee's class is titled "Contemporary African American Cinema," the Film Archive has named its series "Black Cinema after Sweetback." The intimation is clear: modern Black film began in 1971 with Melvin Van Peebles's Sweet Sweetback's Baad Asssss Song...
Harvard Film Archive--Sweet Sweetback's Baadasssss Song directed by Melvin Van Peebles at 7 p.m. $6.50. Paths of Glory directed by Stanley Kubrick...
Baadasssss, as in Sweet Sweetback's Baadasssss Song, which Melvin Van Peebles (Mario's father) made in 1971. Sex-sated and X-rated, Sweetback trumpeted the bustling era of blaxploitation films. Their heroes were no lilies of the field. They dealt drugs (Super Fly) or tracked down drug dealers (Shaft). Short on artistry but long on verve, these violent epics were significant for the same reason they remained, in every sense, a minority entertainment: they were movies made not only for blacks but, often, by them. African-American filmmakers had kicked their foot through the industry's back door...
SCIENCE CENTER Room C, Tupamaros made by Jan Lindqvist and Tupamaros, Nov. 16 and 17, at 6:30 and 8:30, $2, Room B: Sweet Sweetback's Baadassss Song...
...filling urban movie houses and treating ethnic audiences to fantasy visions previously only colored white. Machismo, even in its white variety, is a hideous subject for glorification. But the black supermen in these movies roister about the contemporary cityscape like hyper Sam Spades without the Hammett moral sense. Sweetback or Shaft are totally ruthless people, oppressed by whites but equally disgusted by the lack of effectiveness of black community and cultural leaders. They are agents who wish to be totally free, and are concerned solely with their personal vendettas against the rest of the world. Until Super Fly, the hardened...