The Political Economy Of Black Film

7 Pages 1626 Words

easily or, in fact, more easily to such blockbusters than to black exploitation films, black-oriented films were soon virtually abandoned. Between 1975 and 1985 the theatrical release of films by African-Americans, or films featuring African-Americans in significant roles, averaged fewer than two a year. Distributors were content to focus on big-budget films with special effects and bankable stars.
A new structural era began in 1986 with the release of Spike Lee's She's Gotta Have It. Although blockbusters had brought the industry out of its financial troubles, the tremendous costs of such productions had reduced the total number of films being produced annually. Theater owners in a new era of multiplexes were desperate for product. Film production had gone down from nearly 500 films a year to about 250 at a time when individual theaters contained four, six, or even a dozen screens. Exhibitors formed the Exhibitors Production and Distribution Cooperative (EXPRODICO) with the intention to pool their money to produce their own films, but individual theater owners would not invest jointly. Many opted instead to go it alone and invest only in films they controlled. EXPRODICO thus failed and was diss...