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African-American filmmakers should be in an enviable position, for since the early 1990sthere has been a steady wave of low budget black films which have turned a solid profit due toa very strong response in the African-American community and a larger crossover audience than anticipated. Any rational 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 support7 Many analysts feel the business is engulfed in a miasma of self-serving and self-fulfilling myths based on the unspoken assumption that Mfrican-American 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 for- eign box office potential. As executives who now control the film industry grew up in those de- cades when there were few black images on the screen and those that 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 . d$1#<