However, let me be clear: repositioning the Blaxploitation films on a noble shelf of our knowledge, where they deserve attention and call to being seen, debated and analyzed does not imply blindness to their contradictory representations.
We must not ignore that we are dealing with a massive body of work, executed under different production circumstances .
John Shaft is not merely a man, but an human entity.
Entangled in contradictions, these productions have both left us images that can be the anteroom of the liberation or can hint at a troubling espousement of traditional conservatives perspectives.
The performances of coolness that we enjoy from the main characters of (1974) can also be a source of pain, for it is sometimes equated with black virility, as if they were sex machines who couldn’t control their “natural” tendencies (a stereotype largely used to justify castrating the black man).
To watch a Blaxploitation movie is to leave the theater or your home screen with the feeling that the world is absolutely black.
Blaxploitation’s legacy of images and representations are not easily suitable for either structuring a revolutionary agenda or for pleasing the sensibility of the white liberal left’s search for the thematization of social problems.