Society has always been influential in fads that are moved through the media; the public witnesses a direct mirror of itself and of current culture represented on cinema screens, in musical lyrics and on television scripts. During the 1990s, African American filmmakers depicted stereotypes of black youth and culture in films such as Do the Right Thing (1989) and Menace II Society (1993), otherwise known as the "hood" films. However, in addition to the popularity and success of the Hood films, there has been great opposition to them. Historical films such as Daughters of the Dust (1991) and Devil in a Blue Dress (1995) were created to counter hood films to portray a diverse African American community that is not racialized. I will compare and contrast both the Hood movie and historical films. Edward Guerrero and Paula Massood both believed that the film Hood was created with the benefit of portraying reality in African-American communities. However, Mark Berrettini, Joel Brouwer, Roger Berger, and Marilyn Wesley argue that neighborhood films are counterfactual to society and that historical films are necessary to showcase positive African-American culture. Mirroring the anger and frustration of the African-American community of the Black filmmakers of the 1960s-1970s and 1990s created the film Hood. Like the Blaxploitation era, the film industry noticed an increase in moviegoers and neighborhood moviegoers. In both the 1960s and 1990s, African Americans were frustrated with their political and economic conditions in urban environments and directed their anger toward filmmaking (Guerrero 159). Hollywood's strategy became to create a response to black frustration with films that illustrated the social pressure in the ghetto (Guerrero 158). Hollywood also represented the…middle of the paper…the black population. Paula Massood and Edward Guerrero believed that hood films were essential in illustrating the social frustration of young African American communities within urban communities. Although young people of color were criminalized and violent, this illustrated a harsh truth for society at large, underscoring the need for social and economic relief in impoverished environments. On the other hand, Mark Berrettini, Joel Brouwer, Roger Berger, and Marilyn Wesley argue that historical films represented a community that had been lost by neighborhood films; a resilient and vibrant African-American community during times of slavery and racial inequality. Historical films are authentic to African American communities because they show a positive view of their culture. Ultimately, both the neighborhood and historical films are realistic to African American communities.