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African-American filmmakers should be in an enviable position, for since the early 1990s therehas been a steady wave of low budget black films which have turned a solid profit due to a very strong response in the African-American community and a larger crossover audience than anticipated. Any rational business manager would now identify this sector as a prime candidate for expansion, but if the films have done so well with limited production and marketing costs, why have they not received full scale support?

Many analysts feel the business is engulfed in a miasma of self-serving and self-fulfilling myths based on the unspoken assumption that African-American films can never be vehicles of prestige, glamour, or celebrity. The relationship players have convinced themselves that black films can do only a limited domestic business under any circumstance and have virtually no foreign box office potential. As executives who now control the film industry grew up in those decades when there were few black images on the screen and those that did exist were produced by film-makers with limited knowledge of the black community, it is little wonder that they avoid ideological issues, and seek to continue making films that they are comfortable with by avoiding the negative imagery of films they would prefer to eschew entirely.

Also to blame for this deleterious phenomenon are legions of desperate and Machiavellian African-American film producers, directors, and writers who would transform The Birth of a Nation into a black musical as long as it would provide them with gainful studio employment. These filmmakers not only perpetuate negative stereotypes in their films, but they also season them with a sprinkling of African-American authenticity. This situation would be onerous enough, given the economic exploitation of the community involved; unfortunately these films also validate the pathologies they depict. The constant projection of the black community as a kind of urban Wild Kingdom, the glamorization of tragic situations, and the celebration of inner city drug dealers and gangsters has a programming effect on black youth. The power of music in film is a particularly seductive and propagandistic force which in the recent crop of African-American films has rarely been used in a positive social manner.

What flows from this combination of factors is a policy of market exploitation rather than market development, evidenced by the fact that any number of films may open to 1,500 screens in one week, only to totally disappear in less than a month. This restricted body of film products erodes the genre’s long-term viability, particularly with the more fickle non-African-American audiences and foreign audiences. Furthermore, when African-American actors begin to emerge as stars, their projects are usually designed to be “more” than a black film, such that any success that follows is therefore perceived not as a reflection of the viability of African-American filmmaking but as the broader pursuit of celebrity.

36. Which of the following best describes the main purpose of the passage?

A.  To contrast the condition of African-American cinema with that of mainstream cinema

B.  To provide an economic explanation for the unpopularity of African-American cinema

C. To criticize the assumptions mainstream audiences allegedly make toward African-American cinema

D. To catalogue the attitudes and practices responsible for the unpopularity of African-American cinema

37. According to the passage, each of the following is characteristic of African-American films

being produced at present, EXCEPT ____.

A. long-term viability as a genre in which audiences keep a consistent interest

B. success in attracting audiences outside the African-American community

C. a tendency to glamorize the problems existing in African-American urban communities

D. a limited level of authenticity in terms of their presentation of African-American culture

38. According to the passage, film industry executives have been reluctant to support African-American cinema for which of the following reasons?

A. Executives believe that African-American audiences are often repelled by the presentation of ideological issues in film.

B. Executives conclude that African-American cinema is not likely to attract audiences overseas.

C. Executives are of the opinion that African-American actors who emerge as stars are reluctant for the executives to associate them with “black” films.

D. Executives are under the impression that there are many strong African-American producers, but few willing to work with mainstream studios.

39. It may be inferred that the author of the passage considers The Birth of a Nation to be ___.

A. A movie outside African-American cinema whose adaptation to the African-American genre would likely prove awkward

B. A movie that African-Americans would be unlikely to respond to in a positive fashion

C. A movie that would likely require the input of African-Americans, were it to be remade

D. A movie that validates the pathologies it depicts in the African-American community

40. According to the author, African-Americans filmmakers have failed to take which of the following steps in properly promoting African-American cinema?

A. They have failed to demonstrate to studio executives the market potential of their films.

B. They have failed to express ideological issues in their films that could attract potential audiences.

C. They have neglected to use genuine African-American music as a force in their fimls.

D. They have exploited stereotypes about African-Americans for the gain of themselves, but not the genre.

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