Dark of the World, Shine on Us: The Redemption of Blackness in Ryan Coogler's Black Panther
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...
| Auteur principal: | |
|---|---|
| Type de support: | Électronique Article |
| Langue: | Anglais |
| Vérifier la disponibilité: | HBZ Gateway |
| Journals Online & Print: | En cours de chargement...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publié: |
MDPI
[2018]
|
| Dans: |
Religions
Année: 2018, Volume: 9, Numéro: 10, Pages: 1-15 |
| Sujets non-standardisés: | B
Afrofuturism
B Post-colonialism B Blackness B Superheroes B Film B Science-fiction B Race B Popular Culture B Gender B Black Theology |
| Accès en ligne: |
Accès probablement gratuit Volltext (Verlag) Volltext (doi) |
| Résumé: | 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. |
|---|---|
| ISSN: | 2077-1444 |
| Contient: | Enthalten in: Religions
|
| Persistent identifiers: | DOI: 10.3390/rel9100304 |