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Blaxploitation counts as camp because it portrays such 'serious' subjects as racism and violence with overthe-top histrionics and costuming.
As a result, the blaxploitation era is remembered as a time when soundtrack artists were conflated with the movies for which they composed.
In other words, blaxploitation plots offer a peculiar mix of fantasy and pragmatism, whereby criminal behaviour is at once commended and deplored.
Other cases of blaxploitation theme-song sampling involve even more drastic departures from a work's original message.
Yet in sampling from blaxploitation sound, the original content of these films is sometimes overshadowed by the machismo and aggression of contemporary hip-hop culture.
In more recent slang, portmanteau words such as blaxploitation and ginormous have featured prominently.
One marketing strategy for blaxploitation film was to elide the personas of the musicians who contributed soundtrack with the plot of the film itself.
For many rappers, in fact, the elevation of blaxploitation to canonical status has meant a monolithic interpretation of these films as unified, both politically and morally.
The few instances of critical self-reflection that are to be found in blaxploitation reside in the soundtracks, whose messages are usually obscured by the larger-than-life caricatures who dominate the screen.
Yet in this respect blaxploitation was only mirroring parallel developments in popular literature and music of the time, in which a fascination with the ghetto was already prominent.
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