African-American filmmakers should be in an enviable position, for since the early 1990s t

African-American filmmakers should be in an enviable position, for since

the early 1990s there has 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

Line community and a larger crossover audience than anticipated. Any rational

(5) 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

(10) 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

(15) 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 they negative

imagery of films they would prefer to eschew entirely.

Also to blame for this deleterious phenomenon are legions of desperate and

(20) 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

(25) 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

(30) 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

(35) 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

(40) perceived not as a reflection of the viability of African-American filmmaking but

as the broader pursuit of celebrity.

Which of the following best

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 catalog the attitudes and practices responsible for the unpopularity of African-American cinema

E．To outline the fundamental problem in African-American cinema and its most likely solution