Society has always had an influence on the fashions that moved through the media; audiences witness a direct mirror of themselves and current culture depicted on movie screens, musical lyrics, and television scripts. During the 1990s, African American filmmakers portrayed stereotypical black youth and culture in films such as Do the Right Thing (1989) and Menace II Society (1993), also known as "hood" films. . However, as much popularity and success as Neighborhood films, there was great opposition. Historical films like Daughters of the Dust (1991) and Devil in a Blue Dress (1995) were created to oppose mobster films that depicted a different, non-racialized African American community. I will compare and contrast both hood films and historical films. Edward Guerrero and Paula Massood both believed that the film hood was created with the aim of depicting the reality of 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 show positive African American culture. Reflecting the anger and frustration of the African American community in the 1960s and 1970s, black filmmakers in the 1990s created the film hood. Similar to the Blaxploitation era, the film industry has noted an increase in the number of moviegoers and moviegoers watching theatrical films. In the 1960s and 1990s, African Americans were frustrated with their urban political and economic conditions and expressed anger toward filmmaking (Guerrero 159). It became Hollywood's strategy to create a response to black frustration with films depicting social pressure in the ghetto (Guerrero 158). Hollywood also portrayed the medium's black population. Paula Massood and Edward Guerrero believed that neighborhood films were essential in depicting the social frustration of young African American communities within urban communities. Although youth of color are criminalized and violent, this illustrates a harsh truth for society as a whole, highlighting the need for social and economic relief in poor environments. On the other hand, Mark Berrettini, Joel Brouwer, Roger Berger, and Marilyn Wesley argue that historical films represented a community that was lost to 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 display a positive view of their culture. Ultimately, cinema films and historical films are realistic for African American communities..