Relevant bibliographies by topics / Afrofuturism and Utopia in Black Panther

Academic literature on the topic 'Afrofuturism and Utopia in Black Panther'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Afrofuturism and Utopia in Black Panther"

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Strong, Myron T., and K. Sean Chaplin. "Afrofuturism and Black Panther." Contexts 18, no. 2 (May 2019): 58–59. http://dx.doi.org/10.1177/1536504219854725.

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2

Posada, Tim. "Afrofuturism, Power, and Marvel Comics's Black Panther." Journal of Popular Culture 52, no. 3 (June 2019): 625–44. http://dx.doi.org/10.1111/jpcu.12805.

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3

Mabasa, Xiletelo, and Priscilla Boshoff. "Liberatory violence or the gift: paths to decoloniality in Black Panther." Image & Text, no. 36 (June 21, 2022): 1–21. http://dx.doi.org/10.17159/2617-3255/2022/n36a7.

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Black Panther's (Coogler 2018) popularity amongst its black audiences in part stems from its foregrounding of the persistent social injustices engendered by colonialism and slavery (what Aníbal Quijano (2000:533) terms 'coloniality') and black people's struggles to overcome them. As a representational tactic in approaching this theme, the Hollywood blockbuster draws on the imaginings of Afrofuturism, which variously endorses radical or more conciliatory approaches to decoloniality. This southern theoretical approach and the critique of coloniality offered by Afrofuturism frame our exploration of how the film positions the hero, T'Challa and the villain, Erik Killmonger, as embodiments of contrasting approaches to emancipation from colonialism's entrenched legacy. Using a structuralist approach that draws on the narrative models of Tsvetan Todorov, Vladimir Propp and Claude Levi-Strauss, we analyse the film's approach to decoloniality by examining the relationship between T'Challa and Killmonger as the protagonist and antagonist respectively. The analysis reveals the limitations of the film's construction of the hero's and villain's understandings of the path to liberation. Rather than offering a revolutionary remedy for the injustices of colonialism and its aftermath, the film embraces a liberal standpoint that remains palatable to the white establishment, both within Hollywood and the broader socio-political milieu.
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4

Gaiter, Colette. "Visualizing a Black Future: Emory Douglas and the Black Panther Party." Journal of Visual Culture 17, no. 3 (December 2018): 299–311. http://dx.doi.org/10.1177/1470412918800007.

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In the post-Civil Rights late 1960s, the Black Panther Party (BPP) artist Emory Douglas created visual messages mirroring the US Western genre and gun culture of the time. For black people still struggling against severe oppression, Douglas’s work metaphorically armed them to defend against daily injustices. The BPP’s intrepid and carefully constructed images were compelling, but conversely, they motivated lawmakers and law enforcement officers to disrupt the organization aggressively. Decades after mainstream media vilified Douglas’s work, new generations celebrate its prescient activism and bold aesthetics. Using empathetic strategies of reflecting black communities back to themselves, Douglas visualized everyday superheroes. The gun-carrying avenger/cowboy hero archetype prevalent in Westerns did not transcend deeply embedded US racial stereotypes branding black people as inherently dangerous. Douglas helped the Panthers create visual mythology that merged fluidly with the ideas of Afrofuturism, which would develop years later as an expression of imagined liberated black futures.
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Wendland-Liu, Joel. "Black Utopia: The History of an Idea from Black Nationalism to Afrofuturism." Journal of American Ethnic History 39, no. 4 (July 1, 2020): 113–14. http://dx.doi.org/10.5406/jamerethnhist.39.4.0113.

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Shor, Francis. "Black Utopia: The History of an Idea from Black Nationalism to Afrofuturism." Journal of American History 107, no. 2 (September 1, 2020): 439. http://dx.doi.org/10.1093/jahist/jaaa332.

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7

Thomas, Cathy. "“Black” Comics as a Cultural Archive of Black Life in America." Feminist Media Histories 4, no. 3 (2018): 49–95. http://dx.doi.org/10.1525/fmh.2018.4.3.49.

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Set in the fictitious African nation of Wakanda, the six volumes of the Black Panther comic book weave plots that are faithful to superhero tropes and aware of Black nationalist discourses. The storylines focus on deterring white dominance, tribal warfare, and mineral exploitation. Creating characters conscious of the threats to their autonomy is an opportunity to reframe the “Black power” trope. This photo essay explores how iterations of raced and gendered figures in mainstream and independent comics are used to mediate and meditate on certain social anxieties. The images and their associated captions explore how Afrofuturism in “Black” comics not only provides illustrative cases of actual Black social life and political crossings engaged with cultural Black archives, but stimulates complex engagements with Black feminist thought in order to advance the liberation struggles of mutant, racialized, and gendered bodies seeking empowerment and social justice.
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8

Waghid, Zayd, and Krystle Ontong. "Exploring the phenomenon of Afrofuturism in film in decolonizing the university curriculum: A case study of a South African university." Citizenship Teaching & Learning 17, no. 1 (February 1, 2022): 27–48. http://dx.doi.org/10.1386/ctl_00080_1.

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When the #RhodesMustFall movement called for the decolonization of the university curriculum in South Africa in 2015, academics were soon under pressure to begin to explore various ways to go about beginning such a complex process. One possible approach to this would be to explore whether Afrofuturism could practically liberate the mind towards addressing any forms of cognitive injustice that students may experience as a result of a colonized curriculum, and in what ways it might do so. A literature review has found a paucity of empirical research exploring ways in which a film that employs Afrofuturism could be used to advance the decolonization project in teaching and learning practices in South African higher education. This article aims to contribute to this discourse through a case study which attempted to uncover the attitudes and emotions of a group of students who, after viewing the film Black Panther, which employs Afrofuturism, were or were not, able to make sense of and/or re-imagine their identities and relationships with others in the context of Afrofuturism, and to what extent. The article thus reports on a case study at a university of technology (UoT) in South Africa in which the film was used to attempt to advance the idea of Afrofuturism in the university curriculum and to uncover the lived experiences, social realities and ideas of self/identity of particular students from marginalized communities.
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Lindsay, Julia. "Black Utopia: The History of an Idea from Black Nationalism to Afrofuturism by Alex Zamalin." Science Fiction Studies 49, no. 3 (November 2022): 605–9. http://dx.doi.org/10.1353/sfs.2022.0070.

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10

Rankine, Patrice. "Black Utopia: The History of an Idea from Black Nationalism to Afrofuturism by Alex Zamalin." African American Review 55, no. 2-3 (June 2022): 256–58. http://dx.doi.org/10.1353/afa.2022.0035.

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Books on the topic "Afrofuturism and Utopia in Black Panther"

1

Black Utopia: The History of an Idea from Black Nationalism to Afrofuturism. Columbia University Press, 2019.

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2

Black Utopia: The History of an Idea from Black Nationalism to Afrofuturism. Columbia University Press, 2019.

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3

Zamalin, Alex. Black Utopia: The History of an Idea from Black Nationalism to Afrofuturism. Columbia University Press, 2019.

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4

Afrofuturism in Black Panther: Gender, Identity, and the Re-Making of Blackness. Rowman & Littlefield Publishers, Incorporated, 2021.

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Book chapters on the topic "Afrofuturism and Utopia in Black Panther"

1

Kent, Miriam. "The (Afro)Future of a Diverse Marvel: Gender, Race and Empire in Thor: Ragnarok and Black Panther." In Women in Marvel Films, 233–59. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474448826.003.0011.

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This final chapter culminates in a meditation on the significance of Marvel’s Black Panther adaptation, alongside Thor: Ragnarok regarding wider social and political issues. Both films are concerned with similar themes of ethnic bloodlines, royalty and marginalisation. The Trump era gave rise to media texts which have been characterised as reigniting and normalising a politic of white supremacy alongside an overblown neoliberal, capitalist conservatism. These films are therefore positioned within this context, which is both heavily racialised and somewhat naïve in its striving for a postracial utopia. While Black Panther heavily draws from Afrofuturist aesthetics and themes to project empowered black superheroic female subjectivities, Thor: Ragnarok struggles to reconcile the potentially white-supremacist leanings of its Norse source material with an outlook that rests on racial diversity and inclusion.
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You might also be interested in the extended bibliographies on the topic 'Afrofuturism and Utopia in Black Panther' for particular source types:
Journal articles
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