They weren’t what critic Bambi Haggins refers to as “FUBU - For Us by Us” - borrowing from the African American clothing line of the same name - instead carving out space for a multiracial audience to experience the unique peculiarities of the contemporary African American experience. Unlike the majority of its predecessors, hood films did not cater specifically to African Americans. Powerful, gripping narratives of urban poverty, disenfranchisement, hustle, and, ultimately, (young) Black manhood, hood films thrived in the early to middle 1990s. The explosion of the “hood film” genre in late 20th century African American cinema arguably doubled as an extension of the street performances of the 1960s and blaxploitation films of the 1970s, while ushering in a new vehicle of post-Civil Rights Black expression accessible to a wider, whiter, mainstream audience.
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