This thesis examines Malcolm X, Panther, Boyz N' The Hood and Get On The Bus, and reveals that a deliberate attempt is made on the part of these narratives to construct a specific black identity in relation to black activism. These films position black males in a space which allows them to directly affect issues regarding black identity, political activism, the black community, and the nation. Furthermore, Malcolm X, Panther, Boyz and Get On The Bus specifically address young black males, and favor a discourse that is from a particular male standpoint. As a result, the films articulate black manhood through militancy and its subsequent sexual appeal.  Since the focus of these films is intentionally on the male characters, the black woman's role in the liberation struggle is portrayed as being of little consequence. This is not to say that the narratives do not make an effort to confront and challenge narrow visions of black masculinity. In essence, black women are included, even if it is through their mere "visibility." However, each film promotes a discourse which reiterates that the black liberation struggle and uplift of the race as a whole is dependant on black men. (Abstract shortened by UMI.)