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Hollywood does not glorify criminal behavior

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The black exploitation (blaxsploitation) films of the 1970s similarly echo the criticism of the rising black gangster as pimp and drug dealer, and that the inner city is also controlled by criminal syndicates (such as in the 1950s syndicate films). These films were often directed by white men and their depiction of African-Americans did not necessarily glorify criminality, but did emphasize their propensity for anger and rage at the ghetto and institutionalized racism. Another narrative that subtly underlies this narrative is that the Black heroes and villains supported similar narratives of the 1950s gangster films. As Reid notes, most audiences during the 1960s could identify what a gangster film was about, and that they also are able to agree that certain actions are criminal, although they may differ on the moral issues surrounding these acts (50). Also, the treatment of the black gangster differs from more mainstream Hollywood films than independent films, while one might sustain the moral order inherent in most gangster films, the other might tend to narrate a story of moral uplift for the main protagonist. As Reid points out, these films often borrowed some elements from mainstream gangster fare and commonly suggested a conventional understanding