(bon il est tard, je suis naze, j’y connais queud en plus, donc ça va être bref )
Who dis ?
Même s’il n’est pas le premier du genre, Boyz n da Hood est celui qui lui donnera ses codes. C’est certainement pas le meilleur (il vieillit assez mal, contrairement à celui des Hughes bros, plus stylisé et moins bas du front), mais il a au moins le mérite de poser les bases, et a en plus été considéré en 2002 comme "culturally significant" par la bibliothèque du congres US et conservé, parce qu’il reflete les mœurs d’une époque donnée.
Any fool with a dick can make a baby, but only a real man can raise his children
Concernant le soi-disant racisme anti-blancs sous-jacent ou apparent dans ce films de « défense du territoire », voilà une réponse assez intérésante d’un gars sur imdb (en anglais, désolé):
I think you're removing the context from what you are hearing (although you're not citing specific examples). Boys in the Hood is set in the early 90s Los Angeles, a city that had seen a lot of overt racism over the last 30 or so years. Over that time dating back to the revolutionary and turbulent times of the 60s, there were several movements to organize Black people to gain some form of economic and political influence. The thought behind it was that disenfranchised groups could not wait to have opportunities given to them and the responsibility to elevate themselves was their problem, not White people.
Now fast forward through the 30 years which is the time where Furious Styles grew up. Furious was emmersed in this environment that during this time saw the introduction of narcotics into the neighborhoods, the emmergence of gangs and witnessing harrasment from the police whose job normally is to "protect and serve" the citizens (I think it was brilliant to make the cop in this movie Black to show that the corruption of the police wasn't purely a white/black thing). Furious, using the same mentality instilled in him throughout the decades from the 60s to present tried to instill his own sensibilities into his son. He wasn't being racist for the sake of being racist, but for Furious it was about survival.
When it comes to movies presented in this earnest way, I think we have the tendency to judge them with our own sensibilities. Regardless of our race, religion, economic status or region of the US (or world) we grew up, I think there is something to be said when we try to understand people instead of judging them from the outside looking in. I appreciate that you even asked the question instead of carrying a knee-jerk reaction with you.
I'll speak from personal experience growing up in the South in a place that has a long tradition of racism. I delivered newspapers while I attended college in the early 90s and ended up going into neighborhoods I had never known existed; ones that were no more than 10 miles from where I grew up. Many of the people were old and over time I got to know a lot of them. They would use archaic terms like "colored" or "negro" (kind of off-putting when heard with a Southern accent) and while some Black people just called them racist, I had to remind myself and then them, that you have to put it in context. "Colored" was not a racist term (hell, the "C" in NAACP stants for colored) and their mentalities were built up slowly over time in an environment that was isolated with a now outdated belief system or at least one that is alien to some of us.
If it is in any of our interests to learn, sometimes we have to step outside our comfort zone. It's difficult or sometimes nearly impossible to do this when we have our minds made up about the answers (myself included). But if it is genuinely a desire for us to understand others we have to step outside of ourselves and try to see the world from another's point-of-view. One of the best ways to do this is try to understand the full context that forges people's mentality; to build understand the environment and the zeitgeist to which they belong. Know that a lot of people's seemingly extreme behavior is usually based on their fears and find out what threatened them (something I chose to read extensively about when trying to understand the 1930s German citizen). We won't completely understand but I think it's a start from just naively passing judgement.
Pour le genre en général, un article qui vaut le coup (en english aussi, sorry bis), qui explique ses codes en passant par le prisme de Menace II Society (figure patriarcale, regain de la masculinité, toussa).
Et pour la liste carrément pas exhaustive (et en plus piquée sur wikiki) :
Colors (Dennis Hopper, 1988)
Do the Right Thing (Spike Lee, 1989)
Boyz n the Hood (John Singleton 1991)
New Jack City (Mario Van Peebles, 1991)
Juice (Ernest R. Dickerson, 1992)
South Central (Stephen Milburn Anderson, 1992)
Menace II Society ( Hughes bros, 1993)
Poetic Justice (John Singleton, 1993)
Strapped (Forest Whitaker, 1993)
Above the Rim (Jeff Pollack, 1994)
Fresh (Boaz Yakin, 1994)
Jason's Lyric (Doug McHenry, 1994)
Clockers (Spike Lee, 1995)
New Jersey Drive (Nick Gomez, 1995)
Tales from the Hood (Rusty Cundieff, 1995)
Friday (F. Gary Gray, 1995)
Set It Off (F. Gary Gray, 1996)
One Eight Seven (Kevin Reynolds, 1997)
Next Friday (Steve Carr, 2000)
(je m'arrête là, à cause du bug de l'an 2000)
On notera aussi les tentatives françaises, telles que La Haine ou Ma 6t va craquer. Et même pouquoi pas y mettre le Cidade de Deus de Mereilles, pendant qu’on y est.
Et si vous voulez faire vos emplettes:
(Attention aux prods Snoopadelic quand même, ça peux piquer)