By 9 pm on Wednesday June 9th, please post a 600-word response to ONE of the following prompts (you're also welcome to respond to both if you're so inclined):
1. Both Kara Keeling and Beretta E. Smith-Shomade note that 1990s gangsta films focus on the shifting role of blackness in relation to urban spaces during the 1980s and 1990s. Yet Keeling names the urban space of gangsta films as specifically a "post-industrial city." What does she mean by this, and what examples from Set It Off can you identify of this post-industrial city (how does it shape the plot, how is it represented visually and auditorily, what kinds of gender/class/sexuality configurations does it produce?)?
2. Both Kara Keeling and Beretta E. Smith-Shomade locate hip-hop music as a central genre convention of 1990s gangsta films. What genres of hip-hop do they see in 1990s gangsta films, and what aesthetics and politics do the films associate with this music? What examples from Set It Off can you find of this intersection of film and music genres, aesthetics, and politics?
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