Slide 1

Criminal lifestyles, sexuality and the martial artsAppropriating blaxploitation in hip-hop music videosRachel Mizsei WardUniversity of East AngliaWho Cares? by Gnarls Barkley (2006)

Directed by Barney ClayGnarls Barkley

20062008

Beggin by Madcon (2007)

Madcon

200720082010Many music videos make references to other narratives in order to strengthen the otherwise "weak narrative chain" and these may well depend upon the shared cultural competencies of the viewer in terms of the music and lyrics in combination with the image. (Cherry 2009:125)

Brigid Cherry, From Cult to Subculture: Re imaginings of Cult Films in alternative Music Video, in Cultural Borrowings: Appropriation, Reworking, Transformation ed. by Ian Robert Smith, (Scope e-book, 2009) pp. 124-137.

Blacula

William Marshall Mario Van PeeblesJim Kelly

kung fu films offered the only nonwhite heroes, to audiences alienated by mainstream film and often by mainstream culture. This was the genre of the underdog, the underdog of colour, often fighting against colonialist enemies, white culture, or the Japanese. The lone, often unarmed combatant fighting a foe with greater economic clout who represented the status quo provides an obvious but nonetheless real connection between kung fu films and black audiences. (Desser 2000 :38)

Desser, David, (2000) The Kung Fu Craze: Hong Kong Cinemas First American Reception in The Cinema of Hong Kong: History, Arts, Identity ed by Poshek Fu and David Desser, Cambridge University Press, USA, pp19 43.

The Wu-Tang Clan