Though Abel Ferrara was born in the Bronx, he has lived in Little Italy, and he has used it as a setting in movies, includingChina Girl (1987), a Romeo and Juliet story about lovers from Little Italy and Chinatown.
In his gritty 2010 documentary Mulberry St., filmed during the Feast of San Gennaro, Ferrara chats with friends tied to the neighborhood or the festival, including restaurateurs and actors, while dropping in on Italian eateries and the Church of the Most Precious Blood, where the procession begins.
Ferrara and actress Shanyn Leigh, his then-girlfriend, must vacate an apartment before marshals come: the film is similarly frenetic in its quest to capture a changing scene.
Two male stars are particularly associated with the genre's prominence during the 1980s: Sylvester Stallone (b. 1946), star of the highly successful and culturally controversial Rambo series (1982, 1985, 1988), about a vengeful Vietnam veteran's quest for redemption; and the former bodybuilder Arnold Schwarzenegger (b. 1947), whose film career proved to have far greater longevity than Stallone's, arguably due to his greater talent for comedy. These stars' muscular bodies have stood in for the general excess with which 1980s action is associated. Shifting this emphasis onto bodily display, a new group of male action stars came to prominence during the 1980s and 1990s, among them such A-list stars as Tom Cruise, Mel Gibson, and Will Smith. In reflecting on the male stars associated with action and adventure in this period, it is notable that these genres have been somewhat more open to black, Asian, and Latino performers than some other Hollywood genres. Yet this diversity in casting is by no means in conflict with the cultural conservatism associated with action and adventure. Just as 1970s blaxploitation deploys uncomfortable racial and sexual stereotypes, the 1980s variant of biracial buddy movies, such as 48 Hours (1982), the Lethal Weapon series (1987, 1989, 1992, 1998), and the Die Hard series (1988, 1990, 1995), has been read as a strategy to exploit and contain black male stars, such as Eddie Murphy. These films pair black and white stars in order to appeal to the widest audience demographic, and in the process black characters are typically portrayed within primarily (or entirely) white institutional contexts. More recently, Mary Beltrn considered Hollywood's deployment of biracial and multi-ethnic stars such as Vin Diesel and Keanu Reeves in terms of economic and cultural expediency (p. 54).
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