In criticizing the Hollywood portrayal of the multiracial society of the US, Griffin said that the blaxploitation genre was "proliferating offenses" to and against the Black community, by perpetuating racist stereotypes of inherent criminality.

Following the example set by Sweet Sweetback's Baadasssss Song, many blaxploitation films feature funk and soul jazz soundtracks with heavy bass, funky beats and wah-wah guitars.

[12] Sweetback and Shaft were both influenced by the black power movement, containing Marxist themes, solidarity and social consciousness alongside the genre-typical images of sex and violence.

[2] Later films such as Super Fly softened the rhetoric of black power, encouraging resistance within the capitalist system rather than a radical transformation of society.

"[14] Films such as Super Fly and The Mack received intense criticism not only for the stereotype of the protagonist (generalizing pimps as representative of all African-American men, in this case) but for portraying all black communities as hotbeds for drugs and crime.

[15][16][17] Blaxploitation films such as Mandingo (1975) provided mainstream Hollywood producers, in this case Dino De Laurentiis, a cinematic way to depict plantation slavery with all of its brutal, historical and racial contradictions and controversies, including sex, miscegenation, rebellion.

[24] Robin Wood, for instance, argued in 1998 that it is the "greatest film about race ever made in Hollywood, certainly prior to Spike Lee and in some respects still".

In the 1977 parody film The Kentucky Fried Movie, a mock trailer for Cleopatra Schwartz depicts another Grier-like action star married to a rabbi.

The 1997 film Hoodlum starring Laurence Fishburne portrays a fictional account of black mobster Ellsworth "Bumpy" Johnson and recasts gangster blaxploitation with a 1930s twist.

2007's American Gangster, based on the true story of heroin dealer Frank Lucas, takes place in the early 1970s in Harlem and has many elements similar in style to blaxploitation films, specifically its prominent featuring of the song "Across 110th Street".

and have openly embraced the pimp image in their music videos, which include entourages of scantily-clad women, flashy jewelry (known as "bling"), and luxury Cadillacs (referred to as "pimpmobiles").

[29] In 1980, opera director Peter Sellars (not to be confused with actor Peter Sellers) produced and directed a staging of Mozart's opera Don Giovanni in the manner of a blaxploitation film, set in contemporary Spanish Harlem, with African-American singers portraying the anti-heroes as street-thugs, killing by gunshot rather than with a sword, using recreational drugs, and partying almost naked.

[31] A 2016 video game, Mafia III, is set in the year 1968 and revolves around Lincoln Clay, a mixed-race African-American orphan raised by "black mob".

[5] Dolemite, less serious in tone and produced as a spoof, centers around a sexually active black pimp played by Rudy Ray Moore, who based the film on his stand-up comedy act.

Later spoofs parodying the blaxploitation genre include I'm Gonna Git You Sucka, Pootie Tang, Undercover Brother, Black Dynamite, and The Hebrew Hammer, which featured a Jewish protagonist and was jokingly referred to by its director as a "Jewsploitation" film.

Robert Townsend's comedy Hollywood Shuffle features a young black actor who is tempted to take part in a white-produced blaxploitation film.

The satirical book Our Dumb Century features an article from the 1970s entitled "Congress Passes Anti-Blaxploitation Act: Pimps, Players Subject to Heavy Fines".

A recurring theme in these sketches is the inexperience of the cast and crew in the blaxploitation era, with emphasis on ridiculous scripting and shoddy acting, sets, costumes, and editing.

An imaginary friend of Meatwad, Boxy Brown is a cardboard box with a crudely drawn face with a French cut that dons an afro.

Dick behaves much like the original Max Payne (down to the "constipated" grimace and metaphorical speech) but wears an afro and mustache and speaks in Ebonics.

Duck King, a fictional character created for the video game series Fatal Fury, is a prime example of foreign black stereotypes.

The sub-cult movie short Gayniggers from Outer Space is a blaxploitation-like science fiction oddity directed by Danish filmmaker, DJ, and singer Morten Lindberg.