Artículos de revistas: "Black Superheroes"

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Tate, Shirley Anne. "SUPER BLACK: AMERICAN POP CULTURE AND BLACK SUPERHEROES". Ethnic and Racial Studies 35, n.º 9 (septiembre de 2012): 1704–5. http://dx.doi.org/10.1080/01419870.2012.688994.

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2

Israelson, Per. "The Sympoiesis of Superheroes". Sensorium Journal 2 (13 de septiembre de 2017): 35–54. http://dx.doi.org/10.3384/sens.2002-3030.2017.2.35-54.

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Through the neocybernetic concept sympoiesis, the comic book Black Orchid can be understood as a media ecology, where the feedback between the reader and the material environment of the comic book emerges as a distributed cognition. I will argue that the reader of the comic book participates in the production of aesthetic experience, and, more importantly, that this participation is not only a question of joining in on the hermeneutic circle, where the reader interprets the comic book and creates a storyworld. From a media-ecological perspective, aesthetic participation is also material and embodied; it is a question of participating in the emergence of an environment. In such a reading, Black Orchid tangibly stages an act of becoming, an event of ontogenesis.

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3

Nama, Adilifu. "Brave black worlds: black superheroes as science fiction ciphers". African Identities 7, n.º 2 (mayo de 2009): 133–44. http://dx.doi.org/10.1080/14725840902808736.

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4

Ridaryanthi, Melly y Ceaserlyn Jindan Sinuyul. "Representation of Female Superhero and Gender Roles in the Avengers: Endgame". KOMUNIKA: Jurnal Dakwah dan Komunikasi 15, n.º 2 (1 de octubre de 2021): 139–54. http://dx.doi.org/10.24090/komunika.v15i2.4580.

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This paper aims to present the study about the representation of female superhero characters and gender roles in Avenger: Endgame. This study is justified to be important as females usually have their stereotypical representation in mass media, including film. Thus, it is crucial to explore and analyze whether or not female superheroes are depicted similarly. There are three main characters analyzed in this movie, namely Gamora, Black Widow, and Nebula. This study applies the semiotics method with a qualitative approach whereby Roland Barthes Semiotics is employed as the theoretical foundation of the analysis and strategy in this study. The research has focused on the representation of gender roles and physical manifestations of the characters in the film. The study has shown that (i) each of the characters plays several roles based on the context of the story, (ii) the balance of power between male and female are not equally distributed, and lastly (iii) Gamora and Nebula being different species than Black Widow which is human, had their appearance interpreted to possess a human-like body, yet the pattern of body size among these three-female superheroes sends a message that this body shape is the “ideal and desirable” body type.

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5

Fawaz, R. "Super Black: American Pop Culture and Black Superheroes / Do the Gods Wear Capes? Spirituality, Fantasy, and Superheroes / Race in American Science Fiction". American Literature 85, n.º 1 (1 de enero de 2013): 199–202. http://dx.doi.org/10.1215/00029831-1959652.

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6

Jenkins, Tricia y Tom Secker. "Science, superheroes and the Science and Entertainment Exchange". Journal of Science & Popular Culture 4, n.º 1 (1 de abril de 2021): 21–38. http://dx.doi.org/10.1386/jspc_00023_1.

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Exploring two case studies ‐ Thor and Black Panther ‐ the article reveals how the use of Science and Entertainment Exchange (SEEX) advisers can help inspire the next generation of STEM careerists and popularize a variety of formerly marginalized scientific concepts. Blending interviews with SEEX leaders, the science consultants who worked on the films and Marvel Cinematic Universe (MCU) producer, Jeremy Latcham, this article blends a production economy perspective with critical analysis to better understand how the ideology of science circulates within the MCU and how its films are working to disrupt outdated notions of science and scientists.

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7

Gaiter, Colette. "Visualizing a Black Future: Emory Douglas and the Black Panther Party". Journal of Visual Culture 17, n.º 3 (diciembre de 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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8

Tyree y Jacobs. "Can You Save Me?: Black Male Superheroes in Hollywood Film". Spectrum: A Journal on Black Men 3, n.º 1 (2014): 1. http://dx.doi.org/10.2979/spectrum.3.1.1.

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9

Scott, Anna Beatrice. "Superpower vs Supernatural: Black Superheroes and the Quest for a Mutant Reality". Journal of Visual Culture 5, n.º 3 (diciembre de 2006): 295–314. http://dx.doi.org/10.1177/1470412906071364.

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10

Bukač, Zlatko. "Hypermasculinity and infantilization of black superheroes: Analysis of Luke Cage and Rage origin stories". Reci, Beograd 11, n.º 1 (2019): 69–81. http://dx.doi.org/10.5937/reci1912069b.

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11

Nero, Charles I. "No Crips Allowed: Magical Negroes, Black Superheroes, And the Hyper-Abled Black Male Body In Steven Spielberg's Amistad and Ryan Coogler's Black Panther". CLA Journal 64, n.º 1 (2021): 52–61. http://dx.doi.org/10.1353/caj.2021.0003.

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12

C. Van Vleet, Samuel, Everrett Moore, Alvin Akibar, Azlynn Osborne y Yolanda Flores Niemann. "“With Great Power Comes Great Impressionability” A Study Of The Relation Between Stereotypes And Superheroes". International Journal of Arts, Humanities & Social Science 04, n.º 02 (12 de febrero de 2023): 06–17. http://dx.doi.org/10.56734/ijahss.v4n2a2.

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The present multimethod research examines different stereotypes about race via a comic book superhero lens. This study focuses on the ascription of traits to a superhero figure developed specifically for this research, examining differences in trait ascription based on the race and sexual orientation of the hero. A diverse sample of participants (N= 371) were presented random drawings of either White, African American, Hispanic, Middle Eastern, Asian, or Native American superhero images and asked questions about their perceptions of the hero’s traits, character role (hero, villain, sidekick), powers, and socioeconomic status. Additionally, hero sexual orientation was manipulated (Heterosexual x Gay), bringing 12 conditions of hero identity that were randomly assigned to participants in a 6 (Race: White x Black x Latinx x Asian x Arab x Native American) x 2 (Sexual Orientation: Heterosexual x Gay) cross-sectional design. Results indicated that participants ascribed certain traits differently based on the race of the hero as well as how race and sexuality of the hero interacted. Additionally, results supported the use of original, fictional images as a means of examining participant perceptions of race and sexuality. These empirical findings can be helpful in the creation and real-world adaptations of comic book superhero media and understanding effects of comic media on the development and dissemination of stereotypes.

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13

Gonçalves, Davi Silva. "The red death: American exceptionalism and U.S.S.R. representations in Marvel’s Black Widow". Acta Scientiarum. Human and Social Sciences 44, n.º 2 (20 de marzo de 2023): e62917. http://dx.doi.org/10.4025/actascihumansoc.v44i2.62917.

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The purpose of this study is to analyse U.S.S.R. representations in Marvel’s film Black Widow (Feige & Shortland, 2021). This object has been chosen because it provides us with a U.S.A. perspective upon a Soviet protagonist – who is here given a chance of telling ‘her’ story. More specifically, even though Natasha Romanoff’s (the Black Widow) narrative is the centre of the story, the analytical focus is on another character: Alexi Alanovich Shostakov, the Red Guardian (the Soviet Union’s version of Captain America). That is, although the protagonist as long as other issues related to her story are addressed by the study here and then, Alexi’s story is put in the spotlight for he emerges as a vintage token of the ideological war between U.S.A. and U.S.S.R. The enemy of the world, for a long time now, is, for some reason, still the red threat. Maybe more than never, everything that goes against the status quo is taken as a communist idea. Therefore, more broadly, this study investigates if and how such anti-communism, deriving from the Cold War, has also been spread through the construction of Marvel superheroes and their adversaries.

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14

Gillespie, Michael Boyce. "Thinking about Watchmen: with Jonathan W. Gray, Rebecca A. Wanzo, and Kristen J. Warner". Film Quarterly 73, n.º 4 (2020): 50–60. http://dx.doi.org/10.1525/fq.2020.73.4.50.

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Michael Boyce Gillespie leads a roundtable with scholars Jonathan W. Gray, Rebecca A. Wanzo, and Kristen Warner to discuss issues of medium, genre, fandom, and African American history in the highly regarded HBO series Watchmen. Characterizing the HBO series as a disobedient adaptation that modifies, extends, and redirects the world making of its source material—the famed twelve-issue comic-book series of the same name, written by Alan Moore and drawn by Dave Gibbons (1986–87)—Gillespie et al. explore the ways in which Watchmen remediates American history, starting with the Tulsa Race Massacre of 1921 that serves as the historical and ideological trigger that sets the series in motion. In a wide-ranging conversation that encompasses subjects including fan fiction, adaptation, cultural mythology, and black superheroes, the authors argue for Watchmen's significance as some of the most consequential television of the century so far.

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15

Henry King, Lorraine. "Black skin as costume in Black Panther". Film, Fashion & Consumption 10, n.º 1 (1 de abril de 2021): 265–76. http://dx.doi.org/10.1386/ffc_00024_3.

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As a costume, textile and surface adornment practitioner my research focuses on how skin contributes to the reading of a costume. Black Panther’s (2018) Oscar winning costume by Ruth E. Carter conformation to whilst also breaking traditional superhero costuming tropes feeds directly into my research on reading black skin as heroic. The visual disruption to the limited and negative narratives usually embedded within black skin are subtly challenged by Carter’s use of both black primordial and superhero skin-like costumes to signify the heroic. The costuming of a black superhero and nemesis frame the black body in action away from the negative stereotypes of Bogle’s hypersexual buck. The reading of black skin as heroic underpins the practice’s explorations away from the binary of black and white skin to the many shades of brown the moniker of black represents. It is the repetition of skin as metaphor where both superhero costumed skin and primordial skin demonstrate the multiplicity between superhero, his alter-ego and Bogle’s stereotypes that form the basis of this article. Black skin as costume explores how skin colour, according to Dyer has been used to other the black body and rank it below that of the white body within postcolonial readings. Traditionally systemic racism in action films has seamlessly placed the white body and skin as inherently heroic whilst reading the equivalent black body and skin negatively. My practice explores equity of black and brown skin as strong, precious and powerful so that any costumes, textiles or surface decoration I create would read the same when placed on a black body as they would on a white body.

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16

Zawlacki, Jake. "Unintended Consequences: Spawn as “Superman Black”". Inks: The Journal of the Comics Studies Society 8, n.º 1 (marzo de 2024): 26–52. http://dx.doi.org/10.1353/ink.2024.a927235.

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ABSTRACT: While arguably the most popular and successful Black superhero in comic books, Spawn, the former CIA assassin Al Simmons turned agent of Hell, rarely exhibits his racial identity. The creator of Spawn and one of the founding members of Image Comics, Todd McFarlane, remarked that he wanted to make Spawn a super-hero “who happened to be black,” thus trying to transcend racial identity through the superhero genre. This attempt at transcendence, however, results in the suppression of Spawn’s racial identity, and ultimately an affi rmation of the superhero genre’s logic as a logic of whiteness. With the help of Frantz Fanon and numerous comic studies scholars, I will look at Spawn’s actual body, his super suit, and the rare moments of Black identity allowed him by McFarlane as a site of Spawn entering into the “bodily schema” of the superhero. After this analysis, I will use James Lamb’s idea of “Superman Black” to frame McFarlane’s wish to suppress and minimize Spawn’s Black identity and reveal how that suppression and erasure becomes integral to Spawn standing on his own as “Superman Black.”

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17

Mann, Justin L. "“Becoming Fantastical” in Black Superhero Comics". Contemporary Literature 63, n.º 1 (julio de 2023): 142–46. http://dx.doi.org/10.3368/cl.63.1.142.

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18

Martinez, Miranda J. "Aspiration and the Violence of Gentrification in Marvel’s Luke Cage". Cultural Studies ↔ Critical Methodologies 22, n.º 2 (15 de diciembre de 2021): 163–72. http://dx.doi.org/10.1177/15327086211059575.

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This article analyzes the cultural politics of gentrification as they are deployed in the Netflix series Marvel’s Luke Cage. Based on the comic book character, Luke Cage, who was created in response to the popularity of the 1970s blaxploitation films, and the Black Power movement, the television series portrays a Black superhero who defends contemporary Harlem and its people from crime and exploitation. Critically recognized and widely watched during its first airing from 2016 to 2018, Luke Cage was a breakthrough television series that not only centered a Black superhero but directed itself to Black experience and public dialogue during the time of Black Life Matters. The Harlem portrayed in Luke Cage is both a specific community, and a virtual invocation of Black community aspiration, and the structural violence of gentrification. The violent emotions and displacement of gentrification that are presented in the series represent a form of intramural dialogue between the Black creatives working on the show and the broader Black public that is engaging with the long-time debates around the meaning and future of Harlem.

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19

Peters, Timothy D. "Daredevil as Legal Emblem". Law, Technology and Humans 2, n.º 2 (21 de noviembre de 2020): 198–226. http://dx.doi.org/10.5204/lthj.1656.

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This article draws together two trajectories of legal scholarship: the turn to the visual in legal studies and the emergence of the subfield of law and comics, or ‘graphic justice’. It does this via an analysis of superhero comics as fitting within a particular genealogy of the ius imaginum, or law of images. This is not to argue simply that superhero comics are dominated by narratives of law, justice and legality—they are—but rather that the very theatrical figure of the superhero and its encompassing of a dual persona is a presentation of a particular political theology of the image. The article analyses the way in which this political theology is rendered visible in Charles Soule’s Daredevil: Back in Black, highlighting the image of the superhero and its connection to both sovereignty and the biopolitics of personhood.

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20

Brown, Jeffrey A. "Comic Book Masculinity and the New Black Superhero". African American Review 33, n.º 1 (1999): 25. http://dx.doi.org/10.2307/2901299.

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21

Anderson, Austin. "Blackening the Frame: Kerry James Marshall's Rythm Mastr". Popular Culture Review 34, n.º 2 (diciembre de 2023): 3–42. http://dx.doi.org/10.1002/j.2831-865x.2023.tb00797.x.

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ABSTRACTThis essay argues Marshall is “blackening the frame” with his African‐centric comic series Rythm Mastr. The series is a corrective to the overwhelming whiteness of canonical comics and the silencing and erasure of Black people in American popular culture and fine art. Through the incorporation of Yoruba figures within the superhero genre, Marshall explores Black history and reframes American popular culture towards an African‐oriented future as part of a broader insurgence among Black comic creators.

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22

Heffron, Jay. "Anne Allison. Permitted and Prohibited Desires: Mothers, Comics, and Censorship in Japan. Berkeley: University of California Press, 2000. 225pp. Cloth $29.00, paper $18.95. - Jeffrey A. Brown. Black Superheroes, Milestone Comics, and Their Fans. Jackson: University of Mississippi Press, 2001. 256pp. Cloth $46.00, paper $18.00." History of Education Quarterly 43, n.º 4 (2003): 631–34. http://dx.doi.org/10.1111/j.1748-5959.2003.tb00139.x.

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Byrne, Deirdre C. "Give the Black Girl the Remote: De-colonising and Depatriarchalising Knowledge and Art in Black Panther and Colour Me Melanin". Image & Text, n.º 37 (1 de noviembre de 2023): 1–22. http://dx.doi.org/10.17159/2617-3255/2023/n37a36.

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This article explores two texts set in Africa to determine to what extent they exhibit decolonial and anti-patriarchal impulses. They are Ryan Coogler's 2018 film, Black Panther, and the adult colouring book, Colour Me Melanin (Kekana 2019), which features 27 portraits of African women paired with 27 poems inspiring pride in women's African heritage. Black Panther features a Black superhero: the hypermasculine T'Challa, although its technological genius is not T'Challa (the eponymous Black Panther), but his sister Shuri, disparaged by traditionalists in Wakanda as 'a child'. Despite her irreverent and iconoclastic approach to tradition, sixteen-year-old Shuri is 'the smartest person in the world, smarter than Tony Stark [Iron Man]' (Malik 2023). Despite these promising features, the film's portrayal of Shuri - a Black girl nerd who is manifestly her brother's equal in the arts of war and technology - stops short of a complete depatriarchalisation of the norm that reserves superhero status for men. Further, Black Panther contains a number of concerning representations that reinforce, rather than disrupting, the colonial view of Africa. Colour Me Melanin may be called speculative fiction in that it points to a future that is yet to come as it shifts the locus of women's beauty away from whiteness and places it firmly in the domain of Black African women's embodiment. All the same, some aspects of this multimodal text signal its affinity for colonial taxonomies and ways of thinking about ethnicity.

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24

Coetzee, Carli. "Django Unchained: A Black-Centered Superhero and Unchained Audiences". Black Camera 7, n.º 2 (junio de 2016): 62–72. http://dx.doi.org/10.2979/blackcamera.7.2.04.

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Thomas, Cathy. "“Black” Comics as a Cultural Archive of Black Life in America". Feminist Media Histories 4, n.º 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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26

Krone, Beth. "Embodied refusals and choreographic criticalities". English Teaching: Practice & Critique 18, n.º 4 (11 de noviembre de 2019): 415–28. http://dx.doi.org/10.1108/etpc-03-2019-0031.

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Purpose This paper aims to describe the work of a group of seventh-grade boys in a middle school superhero storytelling project. In this project, the boys, one of whom identified as Latino and five of whom identified as Black, created a voiceless, faceless, raceless superhero named “Mute.” Using a Black feminist theoretical framework, the author considers how the boys authored embodied moments in the construction of their character and in a basketball scene. The author argues that within the narrated space of the story, embodiment functioned as a critical tool for authoring spaces that thwarted and bypassed dominant social narratives. Design/methodology/approach The white, female, university-affiliated author was a participant-researcher in the “Mute” group’s ten storytelling sessions. The ethnographic data set collected included fieldnotes, recordings and copies of all the writing and images of the group. The author uses this data to conduct a narrative analysis of the Mute story. Findings The author suggests that the group’s authoring of embodiment and choreography in their story makes space outside of the binary stances often available in traditional critical analyses. Instead, the group’s attention to embodied aspects of their character(s) allowed them to refuse either/or positions of such stances and construct a textured reality that existed beyond these bounds. Originality/value Black feminist theorists have warned that critical readings are potentially essentializing, risking a reification of the same systems they hope to overturn. The Mute group’s invention of a superhero character and their use of authored embodiment deflected such essentializing readings to imagine a new, more just (story) world. Thus, the author recommends an increased attention to how students are writing and reading embodiment to fully see the everyday ways they are critically working both against and beyond the social narratives that organize their lives.

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Lendrum, Rob. "The Super Black Macho, One Baaad Mutha: Black Superhero Masculinity in 1970s Mainstream Comic Books". Extrapolation 46, n.º 3 (enero de 2005): 360–72. http://dx.doi.org/10.3828/extr.2005.46.3.8.

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Hammett, Daniel. "Governmentality and comic propaganda: Mighty Man, the black superhero of apartheid". Political Geography 99 (noviembre de 2022): 102742. http://dx.doi.org/10.1016/j.polgeo.2022.102742.

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Coetzee. "Django Unchained: A Black-Centered Superhero and Unchained Audiences". Black Camera 7, n.º 2 (2016): 62. http://dx.doi.org/10.2979/blackcamera.7.2.62.

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30

Moonsamy. "Fish Out of Water: Black superheroines in Nnedi Okorafor's Lagoon". Transition, n.º 129 (2020): 175. http://dx.doi.org/10.2979/transition.129.1.15.

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Górny, Antoni. "„Podoba mi się, jak umierasz, chłopcze”. Django i jego Czarny Antybohater". Kultura Popularna 3, n.º 49 (31 de marzo de 2017): 48–59. http://dx.doi.org/10.5604/01.3001.0009.8044.

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The article discusses the phenomenon of the “Black badman” in the context of Quentin Tarantino’s film Django Unchained. A brief outline of the history of Black folktales provides the parameters for the rise of violent tales and tales of violent men, such as Railroad Bill or Stagolee. As an outlaw, Django represents a counterimage to the threat of Black violence that was used to justify not only the racist brutality of lynching, but also the establishment of law enforcement agencies in the American South. By alluding to the legend of Bras Coupé, Tarantino provides a historic lineage for Django, while his use of the “blaxploitation” aesthetic highlights the viability of the Black badman figure for a contemporary America. As a badman, Django is not simply a personification of resistance to White racial domination, but a veritable superhero for a future that one might be tempted to call “post-racial.”

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32

Menon, Dilip. "Fifty Shades of Blackness: Recovering an Aesthetics of the Afrifuge". Cambridge Journal of Postcolonial Literary Inquiry 7, n.º 2 (abril de 2020): 107–20. http://dx.doi.org/10.1017/pli.2019.42.

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Black lives and histories are to the fore at the moment: from #BlackLivesMatter in the United States to the movement to decolonize syllabi and pedagogy in South African universities. The film Black Panther is watched within a visual and political terrain in which the black body is presented no longer only within histories of previous abjection—slavery and apartheid—but in visions of future reconstitution. This article will put together the changing representation of T’Challa from 1966 to the present in Marvel Comics and the film and argue that blackness has meant different things at different times to the creators as much as within the historical circumstance within which the black superhero has been seen and understood. Central to this has been the dilemma of bringing together the histories of “Africa” and the tenements of the United States—Wakanda and Oakland, California, in the film, and Harlem, New York, in the comic books.

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Claverie, Ezra. "Ambiguous Mr. Fox: Black Actors and Interest Convergence in the Superhero Film". Journal of American Culture 40, n.º 2 (junio de 2017): 155–68. http://dx.doi.org/10.1111/jacc.12712.

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Faithful, George. "Dark of the World, Shine on Us: The Redemption of Blackness in Ryan Coogler’s Black Panther". Religions 9, n.º 10 (8 de octubre de 2018): 304. http://dx.doi.org/10.3390/rel9100304.

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Directed by Ryan Coogler, the film Black Panther portrays the heroes of the fictional African kingdom of Wakanda as godlike. They possess otherworldly sophistication by virtue of their blackness, in contrast to longstanding tendencies in mainstream film toward tokenism, stereotyping, and victimhood in depictions of people of African descent. The superhero the Black Panther, a.k.a. King T’Challa, learns to stand in solidarity with the oppressed, even those in whose oppression he has been unwittingly complicit, such as the children of the African diaspora. As a result, the film can function as catalyst for reflection on the part of viewers in terms of how they might perceive more clearly the complexity, variety, and ambiguity represented by blackness, whether others’ or their own, and how they, too, might identify with the Other.

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Dicus, Elena Raine. "Black Butterfly, Jaguar Girl, Pinata Woman, and Other Superhero Girls, Like Me (review)". Theatre Journal 52, n.º 3 (2000): 421–22. http://dx.doi.org/10.1353/tj.2000.0075.

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Neal, D’Arcee Charington. "Keeping It Unreal: Black Queer Fantasy and Superhero Comics by Darieck Scott (review)". Inks: The Journal of the Comics Studies Society 7, n.º 1 (marzo de 2023): 93–97. http://dx.doi.org/10.1353/ink.2023.a898389.

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Naliero, Juliana. "Darieck Scott. Keeping it Unreal: Black Queer Fantasy and Superhero Comics". New Americanist 2, n.º 1 (mayo de 2023): 134–37. http://dx.doi.org/10.3366/tna.2023.0009.

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Nishikawa, Kinohi. "Darieck Scott, Keeping It Unreal: Black Queer Fantasy and Superhero Comics". American Literary History 35, n.º 2 (1 de mayo de 2023): 1024–26. http://dx.doi.org/10.1093/alh/ajad051.

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Neuhaus, Till y Niklas Thomas. "Corporate Colonization of Blackness – The Representation of Blackness in the National Basketball Association from 1984 to 2005". New Horizons in English Studies 6 (10 de octubre de 2021): 175–89. http://dx.doi.org/10.17951/nh.2021.6.175-189.

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In light of current social justice dynamics, this article examines marketing strategies employed by the NBA (and associated companies) to sell predominantly Black athletes to a chiefly White audience. Through historical contextualization and critical analysis, the NBA’s development from a non-profitable and scorned circus to a multi-faceted and multi-billion-dollar global attraction is explored. From the earliest league structures until the 1980s, a dichotomy between Black and White players (and the values/stigma they embodied) dominated the sport of Basketball. This however changed with the rise of Michael Jordan to fame. Jordan became the first basketball player who transcended these racial lines in terms of associated values and/or stigmas. Simultaneously, His Airness’ rise to global fame let the NBA’s popularity soared into astronomical spheres. A shiny Black Superhero was born, yet his public image is predominantly inspired by corporate considerations – a case of corporate colonization of Black bodies. Black players’ transgressions and the NBA’s reactions to those – as happened in the Malice in the Palace (2005) incident – highlight the conflicting lines along which the NBA constructs and presents its players with a clear tendency towards corporate colonization, a concept which will be outlined in the paper. Through critical historical reading of past corporate efforts, this article re- and deconstructs the strategic illustration of Black athletes.

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40

Viljoen, Jeanne-Marie. "Re-forming Hollywood's imagination: beyond the box office and into the boardroom". Image & Text, n.º 36 (5 de mayo de 2022): 1–17. http://dx.doi.org/10.17159/2617-3255/2022/n36a2.

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Despite the commercial success of Black Panther (Coogler 2018) and its ostensible achievement of making Hollywood more representative of black people and "their" narratives, the film is limited in terms of the progress on inclusion it can achieve. This is because, as a Hollywood superhero film, its success is predicated upon perpetuating the colonisation of the imagination of its (still largely white) spectators and it does not represent black people on their own terms. A close focus on form exposes the film as retaining the spectacular and action-orientated visual language of Hollywood that engenders cinema as fundamentally voyeuristic and imperial. In this way, a close examination of Black Panther supports the examination of limits of what the commercial structure of an industry established upon the colonial gaze of spectacle is currently able to produce. This paper goes further and also argues that decolonisation in cinema should involve a more radical confrontation of Hollywood aesthetics and the formal language of Hollywood's gaze itself, so that the embodied visual languages of global cinema and New Black cinema may be more widely employed to reveal the world of those colonised by Hollywood as materially different, on their own terms. It is only by going beyond the success of films like Black Panther in the box office and through a radical investigation of form and haptic visuality that the considerably unequal structure of the Hollywood boardroom - which produces such films in the first place - may be transformed.

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41

Fu, Albert S. "Fear of a black Spider-Man: racebending and the colour-line in superhero (re)casting". Journal of Graphic Novels and Comics 6, n.º 3 (13 de enero de 2015): 269–83. http://dx.doi.org/10.1080/21504857.2014.994647.

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42

Butcher, Kenton. "From Superhero to Tragic Hero: Rethinking Genre and Character in Ryan Coogler’s Black Panther". Lit: Literature Interpretation Theory 32, n.º 4 (2 de octubre de 2021): 268–84. http://dx.doi.org/10.1080/10436928.2021.1977566.

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43

Overstreet, Mikkaka. "My First Year in Academia or the Mythical Black Woman Superhero Takes on the Ivory Tower". Journal of Women and Gender in Higher Education 12, n.º 1 (2 de enero de 2019): 18–34. http://dx.doi.org/10.1080/19407882.2018.1540993.

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44

Stringfield, Ravynn K. "Hero Me Not: The Containment of the Most Powerful Black, Female Superhero by Chesya Burke (review)". Inks: The Journal of the Comics Studies Society 8, n.º 1 (marzo de 2024): 91–94. http://dx.doi.org/10.1353/ink.2024.a927240.

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45

Hatmojo, Panji Tri. "Qualitative content analysis of racism in the film Kamen Rider black sun". Symposium of Literature, Culture, and Communication (SYLECTION) 2022 3, n.º 1 (22 de noviembre de 2023): 798. http://dx.doi.org/10.12928/sylection.v3i1.14103.

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Racism is a form of discrimination carried out by race majority to race minority. Racism is a big issue that never stops in this world until now. Many minority races keep struggling due to these issues and trying to get their right. The Kamen Rider Black Sun film is a Japanese superhero film series that brings up the theme issue of racism. Directed by Kazuya Shiraishi, released on October 28, 2022, via the Prime Video online streaming platform, it tells a story about the chaos that occurred between humans and a humanoid monster called Kaijn which actually mysteriously appeared in Japan 50 years ago. The existence of Kaijin brings up two strongholds on humans who hate and want to destroy the existence of Kaijin and those who think that Kaijin can live side by side in a way of peace with humans.To know How Racism in the Kamen Rider Black Sun film, this research uses method qualitative descriptive with technique content analysis. Based on the results of the study, it can be concluded that emerging racism in the film Kamen Rider Black Sun is divided become two namely: First, personal racism consisting of behavior, beliefs, and actions indicating race in the film. Second, institutional racism refers to actions condescending to race and certain things to do by social institutions and government.

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46

Mthembu, Maphe, Omolara Baiyegunhi, Yanga Mdleleni, Lerato Ndlovu, Hannah Keal, Kim Waddilove, Justin C. Yarrow, Victoria Kasprowicz, Thumbi Ndung'u y Emily B. Wong. "A PowerPack of SuperScientists: An innovative concept by African scientists to address gender bias and inequity in science". Wellcome Open Research 7 (11 de marzo de 2022): 87. http://dx.doi.org/10.12688/wellcomeopenres.17668.1.

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Underrepresentation of women in scientific leadership is a global problem. To understand and counter narratives that limit gender equity in African science, we conducted a public engagement campaign. Scientists representing six sub-Saharan African countries and multiple career stages used superhero imagery to create a diverse and unified team fighting for gender equity in science. In contrast to many traditional scientific environments and global campaigns, this “PowerPack of SuperScientists” was led by early-career Black female scientists whose perspectives are often under-represented in discussions about gender equity in science. The superhero imagery served as a powerful and fun antidote to imposter syndrome and helped to subvert traditional power structures based on age, race and sex. In an interactive social media campaign, the PowerPack developed insights into three themes: a) cultural stereotypes that limit women’s scientific careers, b) the perception of a “conflict” between family and career responsibilities for women scientists, and c) solutions that can be adopted by key stakeholders to promote gender equity in African science. The PowerPack proposed solutions that could be undertaken by women working internally or collectively and interventions that require allyship from men, commitment from scientific institutions, and wider societal change. Further work is required to fully engage African scientists and institutions in these solutions and to enhance commitment to achieving gender equity in science. Our experience suggests that creative tools should be used to subvert power dynamics and bring fresh perspectives and urgency to this topic.

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47

Arfani, Sri, Juhana Juhana y Nurul Vitria Hastutik. "The Representation of Radical Feminism in Black Widow Movie Directed by Cate Shortland". Scope : Journal of English Language Teaching 8, n.º 1 (16 de octubre de 2023): 218. http://dx.doi.org/10.30998/scope.v8i1.17704.

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<div class="WordSection1"><p><span lang="EN-US">The goal of feminism is to fully establish gender equality in law and practice while combating sexism, sexist exploitation, and oppression. Cate Shortland is the director of the superhero science fiction film <a name="_Hlk145877994"></a>Black Widow. In the film, black widowed women are controlled by the Red Room Academy, a clandestine criminal organization. The primary character and former Black Widow Natasha Romanoff is depicted destroying the Red Room Academy and its male head, Dreykov. The theory of feminism and film analysis are used by the researcher to answer these research questions. There are three objectives in this research. The first objective is to describe the character value of Natasha in the movie. Next is to analyze the radical feminism shown by Natasha in the movie. Last, to analyze the moral value that the director wants to convey. This research was qualitative descriptive method by watching the movie and taking several scenes that were related to the theory. The results of this research reveal that: (1) There are three-character value from Natasha as the main character of the movie; independent, social care and perseverance. (2) The analysis reveals the radical feminism inclinations portrayed by Natasha Romanoff is the act of self-sacrifice. (3) The moral value found in Black Widow movie is about caring each other and women’s right.</span></p></div>

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48

Tembo, Kwasu D. "Magical Negress: Re-Reading Agent 355 in Brian Vaughan’s Y: The Last Man". Open Cultural Studies 3, n.º 1 (1 de febrero de 2019): 161–73. http://dx.doi.org/10.1515/culture-2019-0014.

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Abstract Be it Pride of Baghdad (2006), Ex Machina (2004), Runaways (2003), The Private Eye (2013) or Saga (2012), the comic book author Brian K. Vaughan is renowned not only for the scope of the projects in his oeuvre but the nuance with which he portrays his characters, many of which are of types that usually receive less mainstream attention than their white, heteronormative, superhero counterparts. This paper will perform a close reading of Agent 355 as she appears in Vol. 1-10 of Y: The Last Man. As an analytical framework through which to parse the character, it will make recourse to the literary, cultural, and theoretical concepts associated with the magical negro. In doing so, this paper will analyse and explore the ways in which Vaughan’s writing simultaneously countermands and reinforces these stereotypical stock character arrangements in a precarious balancing act. Strong, intelligent, and determined in her expression and use of agency, 355 often fulfils the function of the magical negro, sanctified, and infused with black girl magic. On the other hand, Agent 355’s entire characterisation is also simultaneously circumscribed within the strong black woman stereotype replete with noble suffering and enduring perseverance.

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49

Mthembu, Maphe, Omolara Baiyegunhi, Yanga Mdleleni, Lerato Ndlovu, Hannah Keal, Kim Waddilove, Justin C. Yarrow, Victoria Kasprowicz, Thumbi Ndung'u y Emily B. Wong. "A PowerPack of SuperScientists: An innovative concept by African scientists to address gender bias and inequity in science". Wellcome Open Research 7 (24 de febrero de 2023): 87. http://dx.doi.org/10.12688/wellcomeopenres.17668.2.

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Underrepresentation of women in scientific leadership is a global problem. To understand and counter narratives that limit gender equity in African science, we conducted a public engagement campaign. Scientists representing six sub-Saharan African countries and multiple career stages used superhero imagery to create a diverse and unified team advocating for gender equity in science. In contrast to many traditional scientific environments and global campaigns, this “PowerPack of SuperScientists” was led by early-career Black female scientists whose perspectives are often under-represented in discussions about gender equity in science. The superhero imagery served as a powerful and fun antidote to imposter syndrome and helped to subvert traditional power structures based on age, race and sex. In an interactive social media campaign, the PowerPack developed insights into three themes: a) cultural stereotypes that limit women’s scientific careers, b) the perception of a “conflict” between family and career responsibilities for women scientists, and c) solutions that can be adopted by key stakeholders to promote gender equity in African science. The PowerPack proposed solutions that could be undertaken by women working individually or collectively and interventions that require allyship from men, commitment from scientific institutions, and wider societal change. Further work is required to fully engage African scientists from even more diverse and disadvantaged backgrounds and institutions in these solutions and to enhance commitment by different stakeholders to achieving gender equity in science. Our experience suggests that creative tools should be used to subvert power dynamics and bring fresh perspectives and urgency to this topic.

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50

Krugliak, M. y N. Bohach. "STEREOTYPES OF THE IMAGE OF THE “COLOR” POPULATION IN AMERICAN MOVIES OF THE XX – FIRST QUARTER OF THE XXI CENTURY". National Technical University of Ukraine Journal. Political science. Sociology. Law, n.º 1(53) (8 de julio de 2022): 6–13. http://dx.doi.org/10.20535/2308-5053.2022.1(53).261097.

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The article considers the peculiarities of the stereotypical image of the “color” population in the US film industry of the XX – first quarter of the XXI century as one of the manifestations of racism; the reasons for the transfer of “ethnic stereotypes” in cinema have been identified. The brightest ethnic stereotypes in film and television are presented in the form of so-called “tropes”. The heroes of films of Asian descent were endowed with excessive militancy and the ability to master martial arts (tropes “All Asians know martial arts”, “All Chinese people know kung-fu”); Asian women were portrayed as defenseless as opposed to a strong white man (“Mighty Whitey and Mellow Yellow” trope); to describe the black hero took the trails “Humble Servant” (“Mammy”), “African-American criminal” (“Blaxploitation”), “White Savior”, “Magic Negro”, “Black Best Friend”. Latin American heroes are physically perfect, sexual and romantic (tropes “Latin Lover”, “Spicy Latina”). In 2010–2020, the “color” population in Hollywood movies is portrayed from a new angle. The main “non-white” heroes show absolute equality with whites, and sometimes dominance over them. This is a social film about problems of general scale and their perception in society, in particular homosexuality (“Moonlight”); a movie with a black superhero (“Black Panther”); a thriller about the confrontation of a black guy with a group of white killers (“Get Out”). Films of this genre are focused on the “color” spectator. The catalysts for changes in Hollywood policy were the #OscarsSoWhite (2016) and Black Lives Matter (2020) movements. As a result, there was a review of the composition of film production teams with an approximation to the proportion typical of the national population of the United States – 40 % (2020, the share of “color” actors in films was 39. %, directors – 25.4 %, writers – 25.9 %); implementation of new requirements for the Oscar (“Best Film” nomination, from 2024) with quotas on gender and racial composition of the production team, etc.

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