When white explorers first encountered the Great Zimbabwe, they were convinced that the massive stone structures were built by a vanished race of white people since Africans were widely regarded as being incapable of creating these impressive buildings. More recent scholarship, however, has dispelled these misperceptions but the harsh reality remains that the African American community is still widely regarded by many people of other races as somehow inferior, and these misperceptions have sustained and even exacerbated longstanding racially based animosities. The recent motion picture, “Black Panther,” though, challenges these stereotypes and recasts the black protagonist as a legitimate superhero on the same caliber as other notable comic figures such as Batman and the Green Arrow, two other major characters that did not have superpowers but rather relied upon their own natural abilities. The purpose of this paper is to analyze the manner in which an exclusively black kingdom that is both technologically modern as well as aesthetically African to extrapolate how the future can be reimaged from an African-centered perspective. Finally, a summary of the research and important findings concerning these issues are provided in the paper’s conclusion.
Review and Analysis
Black Panther is the first mega-budget fictional superhero movie with a predominantly black cast, causing it to fill a lacuna in international cinema--the absence or stereotyped portrayal of Africans and their continent in international cinema. According to one media analyst, “[Black Panther] was te eighteenth movie in the Marvel Cinematic Universe released on February 16, 2018, as the entertainment industry is wrestling with its toxic treatment of women and persons of color and it was regarded as overdue" (Aiyesimoju, 2018, p. 96). In sum, “Black Panther” depicts an African kingdom that is not only scientifically progressive, it is also generous and willing to share its knowledge with the rest of the world for the betterment of all humankind. To their credit, the cast and director of “Black Panther” succeeded in creating this alternative yet completely feasible scenario by drawing on what Aiyesimoju (2018) describes as “elements of a variety of deep African heroic cultures” that “climax with the Afro-complementary gesture of T'Challa sharing the resources and technology of Wakanda with the rest of the world” (p. 97).
In other words, “Black Panther” is effective in helping both black and white people re-imagine a future that is fundamentally different but far better because of it. In this regard, Aiyesimoju (2018) concludes that in the movie, “The action symbolizes healthy global interaction without undermining national and continental sovereignty and individuality . . . emphasizing Africa's uniqueness” (p. 97). By placing the action in an exclusively African kingdom that enjoys the same level of modernity and scientific achievements as developed nations around the world, “Black Panther” forces viewers to...
References
Aiyesimoju, A. B. (2018, August) Black Panther as Afro-complementary cinematic intervention: Lessons for Africa south of the Sahara movie industries. Journal of Pan African Studies, 11(9), 96-101.
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Racist Beauty Ideals and Racial Self-Hatred This paper examines Toni Morrison's novel the Bluest Eye from the perspective of three different interest groups: Those who would interrogate the paper on the basis of issues related to gender, or of the feminist movement; Those whose interests lie in the book's treatment of children's issues or advocacy, and Those engaging in a dialogue centering around issues of race. It should also be understood that these topics
Both films irritated their relevant critical establishments, and in this way, De Palma's remade was truest to its source. Scarface 1983 savagery and energy united with its political portrait of the illicit drug trade form a memorable and powerful evocation of 1980s narco-corruption (Prince 231). One of the most striking disparities amid the 1932 Scarface and 1983 Scarface is between Tony Camonte, who makes a fortune through selling bear, but
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