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

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

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1

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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5

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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6

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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9

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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11

Mrowińska, Agata. "„Afryka, która nadchodzi”. Nie-utopijna wizja przyszłości w powieści Rouge impératrice Léonory Miano." Przegląd Kulturoznawczy, no. 3 (49) (2021): 525–38. http://dx.doi.org/10.4467/20843860pk.21.036.14356.

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“The Africa That’s Coming”: A Non-utopian Vision of the Future in Léonora Miano’s Rouge impératrice This article seeks to present the way in which the Afrofuturism as a literary genre can be used to reflect on the potential of the African future. In the novel Rouge impératrice, published in 2019, Cameroonian author Léonora Miano introduces a vision of the future united state of Katiopa which enables her to reconsider some present problems and offered socio-political solutions. The image of the possible future of the African states constitutes a clever and innovative analysis of the current political and cultural issues of the African continent, and its possibilities for a stable and peaceful progress. At the same time, Miano tries to stay clear of the category of Black utopia.
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12

Mrowińska, Agata. "„Afryka, która nadchodzi”. Nie-utopijna wizja przyszłości w powieści Rouge impératrice Léonory Miano." Przegląd Kulturoznawczy, no. 3 (49) (2021): 525–38. http://dx.doi.org/10.4467/10.4467/20843860pk.21.036.14356.

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“The Africa That’s Coming”: A Non-utopian Vision of the Future in Léonora Miano’s Rouge impératrice This article seeks to present the way in which the Afrofuturism as a literary genre can be used to reflect on the potential of the African future. In the novel Rouge impératrice, published in 2019, Cameroonian author Léonora Miano introduces a vision of the future united state of Katiopa which enables her to reconsider some present problems and offered socio-political solutions. The image of the possible future of the African states constitutes a clever and innovative analysis of the current political and cultural issues of the African continent, and its possibilities for a stable and peaceful progress. At the same time, Miano tries to stay clear of the category of Black utopia.
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13

Ewing, Adam. "Black Utopia: The History of an Idea from Black Nationalism to Afrofuturism by Alex Zamalin. New York, Columbia University Press, 2019. 192 pp. Paper, $26.00." Political Science Quarterly 136, no. 1 (March 2021): 186–88. http://dx.doi.org/10.1002/polq.13143.

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14

Chambliss, Julian C. "Mapping the Black Comic Imaginary: Beyond the Black Panther at the MSU Museum." Comics Grid: Journal of Comics Scholarship 11, no. 1 (November 29, 2021). http://dx.doi.org/10.16995/cg.8051.

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The historical link between Afrofuturism and comics offers a vital avenue to explore black speculative practice. Identifying comics that reflect the structure of Afrofuturism provides a critical way to understand the intersection between liberation and speculation at the heart of Afrofuturism. This commentary explores the curator’s framing of the utility of organizing Beyond the Black Panther: Visions of Afrofuturism in American Comics, an exhibition presented virtually and physically at the MSU Museum in Michigan State University in East Lansing, MI, USA. Due to the Covid-19 pandemic, the MSU Museum was closed to the public and this exhibition was re-imagined as a virtual experience and published online in February 2021.
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15

Becker, Danielle. "Afrofuturism and decolonisation: using Black Panther as methodology." Image & Text, no. 33 (2019). http://dx.doi.org/10.17159/2617-3255/2018/n33a7.

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16

Yuga Rendra Nata, Erfin, Sumarwahyudi ., and Dhara Alim Cendekia. "Afrofuturism in Black Panther Superhero Costume as Culture Sustainability Media (Charles Sanders Pierce Semiotic Analysist)." KnE Social Sciences, September 2, 2020. http://dx.doi.org/10.18502/kss.v4i12.7596.

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Black Panther is a successful film with various awards and a large revenue. One factor that received attention from the global community was the hidden message contained in the film. The costuming in Black Panther was one of the most important message media. This study determines the various meanings contained in the costume using Charles Sanders Pierce’s semiotics theory, which connects representamen, object and interpretant. Pierce’s semiotics theory is classified as a communication semiotics theory, which communicates a thought with new thoughts. Semiosis in communication semiotics occurs continuously or in a rolling manner. Semiosis will be stopped if the researcher has found meaning. Communication semiotics is considered relevant to this research, because the Black Panther costume can be analyzed from various aspects, so the meaning found will be varied, unlimited and profound. This study uses a qualitative descriptive approach to the stages of determining the problem, determining the type of data, determining the method of data collection, determining analysis techniques, and making conclusions. The data obtained were analyzed using Pierce’s semiotic trichotomy table. Data analysis was also strengthened with relevant bibliography, so that contextual meaning was found. The results of semiosis in this study indicate that the Black Phanter costume represents the existence of the black race through physical form, color and symbols. The costume is a product of the afrofuturism movement, a movement that aims to campaign for African culture. The Black Panther costume represents that Africa has a rich and competitive culture. Through the Black Panther character, black people are imaged as a virtuous, civilized, advanced, intellectual, artistic and warrior-spirited nation. The image is an attempt to sensitize the public about human rights equality and tolerance between groups. Keywords: Black Panther, Kostum, Semiotika, Afrofuturisme.
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17

Anderson, Reynaldo. "Afrofuturism 2.0, Africana Esotericism, and the Geopolitics of Black Panther." New Political Science, October 7, 2022, 1–6. http://dx.doi.org/10.1080/07393148.2022.2119330.

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18

ROYSTER, FRANCESCA T. "Cruising Utopia with Brittany Howard: Jaime's Queer Afrofuturism." Twentieth-Century Music, December 21, 2020, 1–16. http://dx.doi.org/10.1017/s1478572220000249.

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Abstract Inspired by Brittany Howard's solo album Jaime (2019), this contribution creates a conversation between music studies, queer studies, African American Literature, and memoir to think about lived ways of understanding, performing, and participating in music to create a future of inclusion. I argue that Black queer strategies of listening and musicking contributes to a new layer of music, the dream space, which helps us understand the impact of music on everyday life.
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19

Karam, Beschara, and Mark Kirby-Hirst. "Guest editorial for themed section Black Panther and Afrofuturism: theoretical discourse and review." Image & Text, no. 33 (2019). http://dx.doi.org/10.17159/2617-3255/2018/n33a1.

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20

White, Renée T. "Symposium on Afrofuturism in Black Panther: Gender, identity and the Remaking of Blackness." New Political Science, September 16, 2022, 1–5. http://dx.doi.org/10.1080/07393148.2022.2119329.

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21

Chikafa-Chipiro, Rosemary. "The future of the past: imagi(ni)ng black womanhood, Africana womanism and Afrofuturism in Black Panther." Image & Text, no. 33 (2019). http://dx.doi.org/10.17159/2617-3255/2018/n33a4.

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22

Burger, Bibi, and Laura Engels. "A nation under our feet: Black Panther, Afrofuturism and the potential of thinking through political structures." Image & Text, no. 33 (2019). http://dx.doi.org/10.17159/2617-3255/2018/n33a2.

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23

Mackinnon, Emma Stone. "Book Review: Black Utopia: The History of an Idea from Black Nationalism to Afrofuturism, by Alex Zamalin." Political Theory, February 25, 2021, 009059172091307. http://dx.doi.org/10.1177/0090591720913079.

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24

Jiaxi, Wang, and Wang Changsong. "Representation of Anti-racism and Reconstruction of Black Identity in Black Panther." Media Watch, November 11, 2022, 097609112211316. http://dx.doi.org/10.1177/09760911221131654.

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The black superhero film is an important research object for anti-racism development. Under the White supremacy framework, Black people and culture have been devalued and neglected for a long time. The all-Black lead Marvel film Black Panther, directed by Ryan Coogler in 2018, employs a well-defined system to present the appeals on anti-racist and reconstruct the filmic Black identity. This study explicitly analyses the approach through which the images of Black people and Black culture are represented, and it attempts to understand how this film reconstructs Black people’s sense of self-identity. This study focuses on the physical appearance of Black superheroes and material culture, the spatial narrative of Black Panther’s fictional spatial world Wakanda, and the Black spirit depicted in the film. Cultural identity, cinematic representation theory, and social identity theory are used to interpret how Black Panther reconstructs Black identity and represents Black culture. This study discovers that Black superheroes are portrayed as powerful, justice, and wise as White people, and Wakanda provides a utopia for a non-racist world. Meanwhile, Black culture is depicted elegantly and proudly to reconstruct Black people’s recognition of cultural and social identity.
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25

Adeniyi, Emmanuel. "Wakandan Utopia, Blackman’s Techno-Scientific Imaginaries, and the Complexities of Pseudoscience in Black Panther." Anglo Saxonica 20, no. 1 (2022). http://dx.doi.org/10.5334/as.68.

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