_AFAS final exam - STUDENT AFAS 371 Hip-Hop Cinema Dr Alain-Philippe Durand Universty of Arizona Take-Home Final Exam 1 In the opinion of Watkins

_AFAS final exam - STUDENT AFAS 371 Hip-Hop Cinema Dr...

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STUDENTAFAS 371 Hip-Hop CinemaDr. Alain-Philippe DurandUniversty of Arizona Take-Home Final Exam1. In the opinion of Watkins, Donalson, and in your own opinion, what are the required main characteristics for a film to be considered a “hip-hop film”? Please be specific and give examples.The required main characteristics for a film to be considered a “Hip-Hop film” in the opinions of Watkins, Donalson, and my own opinion are. Watkins believes that hip-hop films are a generational discourse that investigates the political and economic backgroundof hip-hop that helped produced an up to date wave of black filmmakers to construct movies that show the society of the black youth and the hip-hop that helped them express themselves. Watkins states that hip-hop is a product of social movement he address hip-hop as a society that illustrates cultural, political, and economic model change. This shows that hip-hop expresses the black youth strive to sustain oneself in a racial society and social abandon. He believed that hip-hop films were to be produced by the new generation of independent and commercial black filmmakers. Movies like Boyz N The Hood (1991), the rapper Ice Cube stars in this film that helps show a realist, striking narrative on gangasta philosophy, that helps propel Watkins term “the urban ghetto film cycle” that created commercial triumph. Watkins believes Spike Lee depicts hip-hop
films the best to his characteristics “Without question, Spike Lee typifies the entrepreneurwho has transformed marginality-in this case, his status as an African American and independent filmmaker-into a source of opportunity by responding, in innovative fashion,to social, economic, political, and cultural changes”(107). Watkins viewed “repetitious production of ghetto-theme action films”(171) as just an additional piece of hip-hop’s social and generational wave “ the perversely prominent rise of the postindustrial ghetto in the American popular and political imagination; a reconfigured popular culture economy and youth marketplace; and finally, the commercial vitality of hip hop culture in

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