Abstract
Lobalzo Wright explores Ice Cube’s transition from controversial gangster rapper to Hollywood mogul through an investigation of his industrial position in contemporary Hollywood, as an actor, writer, director, and producer. His longevity, a feat mostly unmatched by many of his rap contemporaries, can be linked to the conglomerate nature of contemporary Hollywood. His success, however, is limited by the same industry through the ideology of black male stardom and the critical reception of many of his films, although the box office success of some of his more recent films may signal a turning point in his film career.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
As Todd Boyd has argued, Compton became synonymous with gangster rap even though few knew the specifics of the area (p. 68).
- 2.
Jodi Brooks (2001) notes the importance of time in many ‘gangsta’ films, including Friday, which, through the marijuana consumption of Craig and Smokey, oscillates between ‘real time’ and ‘dope time’ (p. 370).
- 3.
See Jonathan Munby (2007) for an analysis of the connection between gangster rap and the gangster film genre.
- 4.
- 5.
See also Guerrero (1993), who wrote about the $30 million dollar budget ceiling for black films in Hollywood in the early 1990s (pp. 166–168). This budgetary limit appears to have not altered in over twenty-five years.
- 6.
All budget and box office figures are from boxofficemojo.com.
- 7.
Criticisms have also been leveled against the Barbershop franchise for its promotion of middle-class values and conspicuous commodity consumption. See Mukherjee (2006).
- 8.
See Aftab (2008) for an example of a review that focuses on the social and political context one of Ice Cube’s comedies, First Sunday.
- 9.
The only project Cube did not have full control over was Janky Promoters, released straight-to-DVD in 2010 by the Weinstein brothers. Due to the Weinsteins’ financial problems, Cube was offered the chance to sell the film elsewhere, but, according to Cube, before he finalised an alternative deal, the unfinished film was released (Rabin).
References
21 Jump Street. (2012). Film. Directed by Phil Lord and Christopher Miller. [DVD]. USA: Columbia Pictures and MGM.
22 Jump Street. (2014). Film. Directed by Phil Lord and Christopher Miller. [DVD]. USA: Columbia and MGM.
Are We There Yet?. (2005). Film. Directed by Brian Levant. [DVD]. USA: Columbia.
Are We Done Yet?. (2007). Film. Directed by Steve Carr .[DVD]. USA: Columbia.
Aftab, K. 2008. Review of First Sunday. Sight and Sound 18(6): 56.
Barbershop. (2002). Film. Directed by Tim Story. [DVD]. USA: MGM.
Barbershop 2: Back in Business (2004). Film. Directed by Kevin Rodney Sullivan. [DVD]. USA: MGM.
Boyd, T. 1997. Am I black enough for you?: Popular culture from the ‘hood and beyond. Bloomington, IN: Indiana University Press.
Boyz N the Hood. (1991). Film. Directed by John Singleton. [DVD]. USA: Columbia.
Brooks, J. 2001. Worrying the note: Mapping time in the Gangsta film. Screen. 12(4): 363–381.
Coker, C.H. 2000. Hollywood blackout. Premiere 14(2): 29–30.
Cube, I. (1990). AmeriKKKa’s most wanted [CD]. USA: Priority.
Donahue, A. 2005. The XXX factor. Premiere 18(8): 88–90.
Do the Right Thing. (1989). Film. Directed by Spike Lee. [DVD]. USA: Universal.
Dyer, R. 2004. Stars, 2nd edn. London: BFI Publishing.
First Sunday. (2008). Film. Directed by David E. Talbert. [DVD]. USA: Screen Gems.
Forman, M. 2002. The ‘hood comes first: Race, space, and place in rap and hip-hop. Middletown, CN: Wesleyan University Press.
Friday. (1995). Film. Directed by F. Gary Gray. [DVD]. USA: New Line Cinema.
Friday After Next. (2002). Film. Directed by Marcus Raboy. [DVD]. USA: New Line Cinema.
The Glass Shield. (1994). Film. Directed by Charles Burnett. [DVD]. USA: Miramax.
Golphin, V.F.A. 2004. Barbershop revisited. Blackfilmaker 6: 7.
Green, D. 1994. Tragically hip: Hollywood and African-American cinema. Cineaste 20(4): 28–29.
Guerrero, E. 1993. Framing blackness: The African American image in film. Philadelphia: Temple University Press.
——— 2000. Be black and buy. Sight and Sound 10(12): 34–37.
——— 1998. A circus of dreams and lies: The black film wave at middle age. In The contemporary Hollywood reader, ed. T. Miller. London and New York: Routledge.
Harris, K. 2012. Black crossover cinema. In The Wiley-Blackwell history of American film: Vol. IV, 1976 to the present, eds. C. Lucia, R. Grundman, and A. Simon. Wiley-Blackwell: Chichester.
Higher Learning. (1995). Film. Directed by John Singleton. [DVD]. USA: Columbia.
Janky Promoters. (2009). Film. Directed by Marcus Raboy. [DVD]. USA: Third Rail Releasing.
John, C.A. 2013. Black comedy as vital edge: A reassessment of the genre. In A companion to comedy, eds. A. Horton, and J.E. Rapf. Wiley Blackwell: Chichester.
King, G. 2009. Indiewood, USA: Where Hollywood meets independent cinema. New York: IB Taurus.
Leonard, D.J. 2006. Screens fade to black: Contemporary African American cinema. Westport, CN: Praeger.
Lobalzo Wright, J. 2015. David Bowie is the extraordinary rock star as film star. In David Bowie: Critical perspectives, eds. E. Devereux, A. Dillane, and M.J. Power. London: Routledge.
The Longshots. (2008). Film. Directed by Fred Durst. [DVD]. USA: Dimension.
Lottery Ticket (2010). Film. Directed by Erik White. [DVD]. USA: Warner Brothers.
Lynskey, D. 2010. Who the Hell is…Tyler Perry? Empire 255: 102–105.
Mukherjee, R. 2006. The ghetto fabulous aesthetic in contemporary black culture: Class and consumption in the Barbershop films. Critical Studies. 20(6): 599–629.
Munby, J. 2007. From gangsta to gangster: The Hood film’s critical allegiance with Hollywood. In The new film history: Sources, methods, approaches, eds. J. Chapman, M. Glancy, and S. Harper. Palgrave: Basingstoke.
Next Friday. (2000). Film. Directed by Steve Carr. [DVD]. USA: New Line Cinema.
Quinn, E. 2005. Nuthin’ but a ‘g’ thang: The culture and commerce of gangsta rap. New York: Columbia University Press.
——— 2013. Black talent and conglomerate Hollywood: Will Smith, Tyler Perry, and the continuing significance of race. Popular Communications 11: 196–210.
Perry, I. 2004. Prophets of the Hood: Politics and poetics in hip-hop. Durham, NC: Duke University Press.
Prescod, M. 2004. Mr. Mogul: The Iceman Cometh. Black Filmmaker 6(25): 15–17.
Rabin, N. (2010) AV Club Interview: Ice Cube [Online]. 29 August. Available from: http://www.avclub.com/article/ice-cube-44306 [Accessed: 10 June 2015].
Ride Along. (2014). Film. Directed by Tim Story. [Film]. USA: Universal.
Rose, T. 1994. Black noise: rap music and black culture in contemporary America. Hanover: Wesleyan University Press.
Straight Outta Compton. (2014). Film. Directed by F. Gary Gray. [Film]. USA: Universal.
Swanson, T. 2003. Next generation of Hollywood’s power elite: Ice cube, for brining the Hood to Hollywood. Premiere 16(10): 82–84.
Tresspass. (1992). Film. Directed by Walter Hill. [DVD]. USA: Universal.
Watkins, S.C. 1998. Representing: Hip hop culture and the production of black cinema. Chicago: University of Chicago Press.
Author information
Authors and Affiliations
Editor information
Editors and Affiliations
Copyright information
© 2016 The Editor(s) (if applicable) and The Author(s)
About this chapter
Cite this chapter
Wright, J.L. (2016). From Boy N the Hood to Hollywood Mogul: Ice Cube’s Lasting Stardom in Contemporary Hollywood. In: Bolton, L., Wright, J. (eds) Lasting Screen Stars. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-40733-7_5
Download citation
DOI: https://doi.org/10.1057/978-1-137-40733-7_5
Published:
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-137-40732-0
Online ISBN: 978-1-137-40733-7
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)