This essay will examine two main points concerning representation in a ten-minute clip of Shaft. The first point is the cultural representation, specifically the emergence of the Blaxploitation genre. The second point focuses on the representation of women and how their gender status affects the film’s narrative and characters. The film portrayed both of these points. The emergence of successful Afro-American film producers, like Gordon Parks (1912-2006) with Shaft (1971) and Melvin Van Peebles with his earlier release of Sweet Sweetback’s Baadasssss Song (1971), signaled the start of a new film genre called Blaxploitation. Shaft was one of the top twenty highest grossing films of the year, earning $6.1 million and accompanied by an award-winning and best-selling soundtrack (William L & Hammond M. Contemporary American Cinema, p. 188).
Although African-American film producers played a significant role in the early Blaxploitation genre, their influence waned in later production, ultimately leading to the genre’s demise in the late 1970s. In terms of cultural representation, Shaft challenged the conventions of previous ‘black cinema’ by portraying a black protagonist as the heroic character, deviating from the politically motivated militant black figures seen in films like Sweet Sweetback’s Baadasssss Song (1971).
Shaft challenges previous stereotypes in ‘Black cinema’ by featuring a lead character who is not portrayed as a militant or angry individual seeking revenge against white people. According to Hayward (2006), the film presents a powerful masculine figure without the image of a militant Black man. During the 1960s, movements like the Black Panthers had a significant influence on these representations, drawing from the ideologies and pride of powerful black men in history.
Despite the later exploitation of the character Shaft in subsequent films of the genre, it avoids excessive parody. However, it still relies on racial stereotypes such as the portrayal of the ‘Italian’ mobster and the seedy, overweight white detective. Shaft himself embodies excessive confidence, reminiscent of the slightly left-wing attitudes of the Panthers.
However, he doesn’t just carry it off with a nonchalant attitude, like someone rebelling against the establishment; instead, he takes on a non-conformist approach to life and acts as a maverick to avoid getting caught up in politics. His independent identity as a self-proclaimed private investigator (PI) sets him apart from working under the control of the white man, which in this case refers to the police force and the mafia. Unlike previous portrayals of black characters, he collaborates with the white man instead of being in opposition with them.
Despite working together, the racial factor becomes apparent in the form of antagonistic phrases between Shaft and the mafia member in the café/restaurant. The mafia member initiates this exchange, but Shaft responds with an equally insulting remark delivered in a nonchalant manner to provoke the mafia member. Despite the back-and-forth insults, the situation does not escalate due to their location and the presence of the waitress serving them.
The power dynamic between the two men is constantly shifting, often through the use of cultural idioms as casual obscenities. The Mafioso, attempting to assert his superiority over Shaft, starts the conversation by addressing Shaft as ‘nigga’. However, Shaft’s lack of response deflates the Mafioso. The introduction of the waitress, who displays negligent behavior, marks the first appearance of a female character in the predetermined clip. This representation seems to portray a submissive white woman.
Ironically, the person serving Shaft, a black man, happens to be a white female. This scene suggests that in the decade being portrayed, white women were still perceived as submissive within their gender roles. However, this aspect is not explicitly noted and is instead seen as a normal situation. The waitress, despite being bored and not particularly invested in her job or customers, inadvertently diffuses potential hostilities between Shaft and another man. This reinforces the stereotype that women, as a gender stereotype, possess insight and the ability to resolve violent situations.
According to Weiten and Lloyd (2006), gender stereotypes in the United States have largely remained the same since the 1970s. Therefore, it is unlikely that an American audience, regardless of their cultural background, would have noticed the subtle differences in the narrative. The significance of having a black female hostage in the film Shaft is noteworthy. Typically, the role of the damsel in distress is given to a vulnerable white female in Hollywood films. However, in Shaft, this stereotype is challenged by casting a young black woman as the hostage.
The black heroine in the film, despite portraying a submissive female character, represents significant cultural value due to her race. This portrayal served as a catalyst for the emergence of proud and empowered black heroines in other Blaxploitation movies like Foxy Brown (1974) and Cleopatra Jones (1973), where actresses Pam Grier and Tamara Dobson gained recognition. However, it is important to note that this representation is merely semiotic, as black women in the 1970s were already empowered themselves, unlike the traditional white American female who was expected to be subservient.
The portrayal of women in the film’s narrative is contrasted. Despite having empowering connotations, both women are depicted in a passive manner. The waitress unintentionally subdues both Shaft and the Mafioso, though it is possible to interpret her behavior as not being nonchalant, but rather as a display of superiority based purely on skin color. She only responds with energy after receiving a tip. On the other hand, the hostage possesses enough cultural influence over Shaft for him to risk his life for her. If this were the case, it would create a farcical situation, contradicting the film’s overall attempt to avoid such elements.
Despite its archetypical Hollywood production, with a predominantly white leading cast and gallant, melodramatic music instead of funk or soul, it would have made no difference. This criterion was one of the factors that defined Blaxploitation movies, and Shaft was one of the films that solidified the use of funky music in such films (Lawrence N (2008) Blaxploitation Films of the 1970s: Blackness and Genre, p. 55).
Despite analyzing the cultural aspect, both female characters in the video lacked direct influence on the movie. However, it can be interpreted as more indirect, as Shaft was willing to endanger his life for the young hostage, giving her a sense of power. However, in an earlier conversation with the detective in the clip, it becomes clear that Shaft does not hold white women in high regard and is known for being promiscuous. In conclusion,
The term Blaxploitation was reportedly coined by Junius Griffin in the early 1970s, who was a former film publicist and head of the NAACP (Los Angeles National Association for the Advancement of Colored People) (Ebert, Roger (2004-06-11). “Review of Baadasssss! ”. Chicago Sun-Times. Retrieved 04/01/2007). However, some argue that Hollywood-funded Shaft is more accurately classified as a Blaxploitation film. Nonetheless, Variety Magazine attributed the start of the genre and trend to Sweet Sweetback’s Baadasssss Song.
Both films were originally aimed at a young black urban audience, but they eventually gained popularity beyond ethnic and cultural boundaries. However, the genre faced heavy criticism from the industry for allegedly promoting sex, violence, criminal behavior, and perpetuating white stereotypes of black individuals. Despite differing opinions about when the blaxploitation era officially ended, it is widely acknowledged that its influence continues to this day (Lambert C (2003) The Blaxploitation Era, HarvardMagazine.com). The key question is whether Gordon Parks Jnr’s involvement in the making of Shaft was primarily driven by his portrayal of black America or by the studio’s desire to capitalize on a popular trend. Personally, I believe that Park’s intention was not to cash in on the trend but rather to depict black people on par with their white counterparts after the civil rights movements of the previous decade. His approach intentionally avoided adopting a Black Panther stance and steered clear of the political aspects.
It seems that Parks intended to portray Shaft as a dissenting figure, echoing the scenes of poverty he witnessed and the violence that arose from societal frustration. This depiction aimed to emphasize that these issues were not solely confined to the Black community, but rather reflected a broader societal concern. This was particularly relevant in America, as the country had experienced significant social upheaval in recent decades, leaving it socially vulnerable and somewhat unstable. Additionally, the late 1960s and 70s saw various movements and calls for greater gender and cultural equality across society.
Photographer Gordon Parks spent nearly two decades documenting the changes happening in the country and was well-traveled enough to understand the variations and struggles he witnessed. With this understanding, he aims to challenge stereotypes rather than perpetuate them. As Parks himself stated in an interview with Village Voice in 1976, “I don’t create black exploitation films.”
Money was the main factor in the occurrence of issues and racism at the time. However, individual producers decided to exploit the trend and make a profit (Walker, Rausch & Watson (2009), Reflections on Blaxploitation: Actors and Directors Speak, p. 12).
Reference List
- Linda Ruth Williams & Michael Hammond. (2006). Contemporary American Cinema, Open University Press. Maidenhead, UK.
- David Walker, Andrew J. Rausch, Chris Watson (2009).
- Reflections on Blaxploitation: actors and directors speak, Scarecrow Press, Inc. Maryland, United States.
- Susan Hayward (2006). Cinema Studies: The Key Concepts. Taylor & Francis LLC, London.
- Wayne Weiten & Margaret Ann Lloyd (2006) Psychology applied to Modern Life: Adjustment in the 21st Century, Cengage Learning. Hampshire, UK.
- Novotny Lawrence (2008) Blaxploitation Films of the 1970s: Blackness and Genre. Rouledge, London, UK.
- Craig Lambert. (2003). The Blaxploitation Era, Available:http://harvardmagzine. com/2003/01/the-blaxploitation-era. Last accessed 13/01/2012.
