Hood film is a "film genre originating in the "United States, which features aspects of urban "African-American or "Hispanic-American culture such as "hip hop music, "street gangs, "maras, "racial discrimination, "broken families, drug use and trafficking, "illegal immigration into the "United States and the problems of young men coming of age or struggling amid the relative poverty and violent gang activity within such neighborhoods.
Critic Murray Forman notes that the "spatial logic" of hip-hop culture, with heavy emphasis on "place-based identity, locates "black youth urban experience within an environment of continual proximate danger", and this quality defines the hood film. In a 1992 essay in Cineaction, Canadian critic "Rinaldo Walcott identified the hood film's primary concerns as issues of masculinity and "(re)gaining manhood for black men".
Among the directors who have made films in this genre are "John Singleton, "Mario Van Peebles, "F. Gary Gray, "Hughes Brothers, and "Spike Lee. The genre has also been parodied with such films as "Don't Be a Menace to South Central While Drinking Your Juice in the Hood. The genre reached the height of its popularity in the 90s due to the acclaim of films "Boyz n the Hood, "Juice and "Menace II Society. With the plethora horrors of films both dramas and comedies, hood films of the 90s are in a sense neo-"Blaxploitation films.
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"Shottas is a Jamaican film of this genre. Brazilian films "City of God and "City of Men depict life in the "favelas of "Rio de Janeiro. "Gangster's Paradise: Jerusalema is South African. British films of this genre have also been made, such as "Black Joy, "Babylon, "Bullet Boy, "Kidulthood, "Adulthood, "Brotherhood,and the parody "Anuvahood. The French films "La Haine, "Ma 6-T va crack-er, "Yamakasi, and "Banlieue 13 are also examples of this genre.