US film review(spoilers) by C.C. Saunders

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In its contemporary context, blackness assumes a violent coupling. Filmmaker Jordan Peele (Get Out) tackles this coupling in both a literal and figerative sense with his latest release Us. Peele depicts humans as “coupled” by a being who mirrors their exteriority. In challenging the presumed singularity of identity, the coupled being obscures reality, simultanously inciting the following query: Are humans replaceable?
Well, according to the film’s doppelgängers, who wear red jumpsuits accessorised by gold scissors, the answer is yes. Viewers meet Adelaide (Lupita Nyong’o) as a child who goes to a mirror house and encounters a girl who looks exactly like her. After this encounter, Adelaide is never the same, and later viewers learn that Adelaide is never the same because she and her doppelganger switched places on that faithful day. Though Adelaide’s parents noticed a difference in their child, this difference, viewers learn, with therapy, could be negotiated. In no time, Adelaide resumes the nurture of her parents and becomes the girl they raised.

The original, for lack of a better word, Adelaide grows up to lead an uprising where the different or the othered, kill their counterparts. Us features a battle between those who reside behind the mirror—at society’s peripheral, and those who look into the mirror and reside at the center. Peele never makes it clear who or what these beings are. The sole reference to identity the film gives is Red’s proclamation that they too are “Americans.”
Red (or Adelaide depending on your perception), to ensure that her initial plan remains in motion, eventually kills the girl whose place she took years. Her son is the only one who knows her secret, a connection she hints at with the early line “stick with me kid and I’ll keep you safe.” Here, Adelaide foreshadows the choice her son will eventually have towards the end of the movie, to share or remain silent. Red/Adelaine’s offspring is also coupled, as he encompasses both the center and the peripheral. Thus, the secret is a gateway to his understanding of self, a gift obscured from the realities of his sister and father.
The film as a whole exhibits a coupling distinct from what it delineates in part. Peele couples black actors with their American counterparts. Specifically, the media exhibits black bodies by way of representation, but the exhibited blackness remains superficial.

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For example, though Winston Duke and Lupita Nyong’o, who occupy the film’s lead roles, encompass a physical blackness in their melanin-dominant appearance, both play roles that could easily be played by white actors. Black actors in race-less roles, marks what the western world calls progress; however, this colorblind casting depicts the violent seizure of power from black people. Colorblind casting extracts black personhood from the black body. Specifically, colorblind roles attempt to circumvent the presumed problem of race. Race in this context also functions superficially; as color is a part, not the whole, of racism. Yet, Peele’s film attempts to showcase those often eliminated from lead roles because of their complexion in a role where their complexion is merely a coicidence. Us eliminates race in a world build on this falsified concept made real in the systemic disenfranchisement it continues to afford black people.
Thus, US makes “us,” or the black person, invisible by casting melanin dominate actors as coupled with an American identity that has never truly been theirs.
US and Social Reproduction of the Invisible [Wo]Man
Though I do not think it was intentional, Peele presents a diasporic discourse with Us. Particularly, the coupled identities that dominate the film illustrate the black individual as coupled by a collective identity. The envy dynamic present between Adeline and Red illustrates the envy many blacks within the diaspora have towards the black displaced in America, or what I will call the “invisible man.” The phrasing “invisible man” alludes to the Ellison novel where a nameless protagonist struggles to see himself in a world built on his invisibility. My use of “man” does not cite gender but references “human.” This invisible man remains largely invisible to his diasporic brethren who often view him or her as a “favored child” in the disillusion of black disruption. Us, in its depiction of black persons as the invisible man, depict the coupling of the black body and personhood as crippled by disallusion.

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By the film’s end, Adeline loses her life because her diasporic doppelganger (Red, who eventually becomes Adeline) wishes to be her; so, Red assumes Adeline’s space and takes her place. This is very much the reality for black people throughout America who have witnessed the perils of racism and prejudice, perils strategically aggravated by immigration. Buried by the fantasy that is American idealism, the invisible man remains invisible to many of their diasporic brethren who are often unable see to past this veiled reality. Instead, this invisible man becomes a hyper-site for a social reproduction that affords white hegemony its violent stagnancy.
In Us, Adeline encompasses the “invisible man” ideal that her counterpart seeks to socially reproduce. Red sees the space Adeline occupies as a bridge to a better life. She (Red) deems her position in American’s peripheral as inferior to the central placement of her doppelganger (Adeline). This notion is particularly complicated by Peele’s colorblind roles, where the black actor remains in the periphery despite seemingly central placement.
Nevertheless, I digress.
Red believes that she is more deserving of the space Adeline occupies and thus would occupy said space “better.” This is often the ideology many Africans in America face with our diasporic brethren who become “model minorities” in seeking to occupy the American space “better” than their kidnapped kinfolk. America, for the being of black form, is a site of physical and mental abduction perpetuated by the continued pressure to assimilate. This assimilation, despite its societal perception, does not mark achievement but cultural compromise. Thus, it is Red’s desire to socially reproduce the invisible man that drives her sadistic and physically violent attempt to take-over an exclusive space. It is this desire to socially reproduce the invisible man that makes the mentally enslaved black predisposed to attack those who look like them and not their true oppressors. As long as the oppressed see themselves as the enemy, the narrative remains focused on the oppressors. Thus, Red/Adeline and her diasporic counterpart cannot co-exist because then the narrative runs the risk of becoming “us,” and within this global paradigm of white supremacy, it must always be about “them.”

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Peele’s colorblind casting alludes to the Duboisian notion of double consciousness in his depiction of the black person is physically split into two selves. So while viewers physically see black actors, the main role remains reserved for white cultural hegemony. What I mean here is that viewers see black actors but are forced to engage with the white space these black actors wish to occupy rather than the black actors themselves. It is the desire for American-ness, or to exist beyond blackness, that makes Us’s viewing experience a visual engagement with the invisible man. Specifically, with “Us,” black viewers witness what will become of them if espoused to an American identity. The film functions as a visual illustration of the “black American” or “African-American” concept that the abducted Africans in America must detach from as a rudimentary step in our collective liberation.

Buried under the American fantasy and entombed by the fiction of progress, there is no “us.” This fact is perhaps best illustrated when Red kills another black women to aid in a white plight to assume a space.
It is Red’s desire to socially reproduce the invisible man that drives her sadistic and physically violent attempt to take-over an exclusive space. It is this desire to socially reproduce the invisible man that makes the mentally enslaved black predisposed to attack those who look like them and not their true oppressors. As long as the oppressed see themselves as the enemy, the narrative remains focused on the oppressors. Red/Adeline and her diasporic counterpart cannot co-exist because then the narrative runs the risk of becoming “us,” and within this global paradigm of white supremacy, it must always be about “them.”
The singularity Red seeks and attains ensures that there is no “us,” if there ever was an “us.” Her actions represents the inevitable end for a group who remains disrupted. As a product of a festered disruption, the black collective, in part remains what they made of “us.” The black representation seen on-screen and throughout politics, education, and every other field, is not us and has never been us. It’s them.
Conclusively, as evidenced by his latest film venture, Jordan Peele also fails to represent us; rather, he remains vested in “them.”

Black Panther: The Revolution will never be televised(Spoiler review)

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Black Panther, the most recent entry into the Marvel cinematic universe, has been greeted with the breathless anticipation that its arrival will Change Things. The movie features the leader of a fictional African country who has enough wealth to make Warren Buffet feel like a financial piker and enough technological capacity to rival advanced alien races. The change that the movie supposedly heralds is black empowerment to effectively challenge racist narratives. This is a tall order, especially in the time of Trump, who insists that blacks live in hell and wishes that (black) sons of bitches would get fired for protesting police violence. Which makes it a real shame that Black Panther, a movie unique for its black star power and its many thoughtful portrayals of strong black women, depends on a shocking devaluation of black American men.

To explain my complaint, I need to reveal some key plot turns: spoiler alert.

Wakanda is a fictional nation in Africa, a marvel beyond all marvels. Its stupendous wealth and technological advancement reaches beyond anything the folks in MIT’s labs could dream of. The source of all this wonder is vibranium, a substance miraculous in ways that the movie does not bother to explain. But so far as we understand, it is a potent energy source as well as an unmatched raw material. A meteor rich in vibranium, which crashed ages ago into the land that would become Wakanda, made Wakanda so powerful that the terrors of colonialism and imperialism passed it by. Using technology to hide its good fortune, the country plays the part of a poor, third-world African nation. In reality, it thrives, and its isolationist policies protect it from anti-black racism. The Wakandans understand events in the outside world and know that they are spared. This triumphant lore—the vibranium and the Wakandans’ secret history and superiority—are more than imaginative window-dressing. They go to the heart of the mistaken perception that Black Panther is a movie about black liberation.

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In Black Panther, T’Challa (Chadwick Boseman) has risen to the throne of Wakanda. We know that his father, T’Chaka, the previous king, died in a bomb attack. T’Challa worships his father for being wise and good and wants to walk in his footsteps. But a heartbreaking revelation will sorely challenge T’Challa’s idealized image of his father.
The movie’s initial action sequences focus on a criminal partnership between arms dealer Ulysses Klaue (Andy Serkis) and Eric Killmonger (Michael P. Jordan). They both seek vibranium but for different reasons: Klaue is trying to profit from Wakanda’s wonder-material; Killmonger is trying to make his way to Wakanda to make a bid for the throne. He believes he is the rightful king.
Killmonger, it turns out, is T’Challa’s cousin, orphaned by T’Chaka’s murder of Killmonger’s father and T’Chaka’s younger brother, N’Jobu (Sterling Brown). Why did T’Chaka kill his brother? N’Jobu was found with stolen vibranium. The motive for the theft is where the tale begins—and where the story of black wonderment starts to degrade.
We learn that N’Jobu was sent to the United States as one of Wakanda’s War Dogs, a division of spies that the reclusive nation dispatches to keep tabs on a world it refuses to engage. This is precisely N’Jobu’s problem. In the United States, he learns of the racism black Americans face, including mass incarceration and police brutality. He soon understands that his people have the power to help all black people, and he plots to develop weapons using vibranium to even the odds for black Americans. This is radical stuff; the Black Panthers (the political party, that is) taken to a level of potentially revolutionary efficacy. T’Chaka, however, insists N’Jobu has betrayed the people of Wakanda. He has no intention of helping any black people anywhere; for him and most Wakandans, it is Wakanda First. N’Jobu threatens an aide to T’Chaka, who then kills N’Jobu. The murder leaves Killmonger orphaned. However, Killmonger has learned of Wakanda  from his father, N’Jobu. Living in poverty in Los Angeles, he grows to become a deadly soldier to make good on his father’s radical aim to use Wakanda’s power to liberate black people everywhere, by force if necessary.
By now viewers have two radical imaginings in front of them: an immensely rich and flourishing advanced African nation that is sealed off from white colonialism and supremacy; and a few black Wakandans with a vision of global black solidarity who are determined to use Wakanda’s privilege to emancipate all black people.
These imaginings could be made to reconcile, but the movie’s director and writer (with Joe Cole), Ryan Coogler, makes viewers choose. Killmonger makes his way to Wakanda and challenges T’Challa’s claim to the throne through traditional rites of combat. Killmonger decisively defeats T’Challa and moves to ship weapons globally to start the revolution. In the course of Killmonger’s swift rise to power, however, Coogler muddies his motivation. Killmonger is the revolutionary willing to take what he wants by any means necessary, but he lacks any coherent political philosophy. Rather than the enlightened radical, he comes across as the black thug from Los Angeles hell bent on killing for killing’s sake—indeed, his body is marked with a scar for every kill he has made. The abundant evidence of his efficacy does not establish Killmonger as a hero or villain so much as a receptacle for tropes of inner-city gangsterism.
In the end, all comes down to a contest between T’Challa and Killmonger that can only be read one way: in a world marked by racism, a man of African nobility must fight his own blood relative whose goal is the global liberation of blacks. In a fight that takes a shocking turn, T’Challa lands a fatal blow to Killmonger, lodging a spear in his chest. As the movie uplifts the African noble at the expense of the black American man, every crass principle of modern black respectability politics is upheld.
In 2018, a world home to both the Movement for Black Lives and a president who identifies white supremacists as fine people, we are given a movie about black empowerment where the only redeemed blacks are African nobles. They safeguard virtue and goodness against the threat not of white Americans or Europeans, but a black American man, the most dangerous person in the world.
Even in a comic-book movie, black American men are relegated to the lowest rung of political regard. So low that the sole white leading character in the movie, the CIA operative Everett Ross (Martin Freeman), gets to be a hero who helps save Wakanda. A white man who trades in secrets and deception is given a better turn than a black man whose father was murdered by his own family and who is left by family and nation to languish in poverty. That’s racist.

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Who could hope that this age of black heroes represents thoughtful commentary on U.S. racism rather than the continuation of it? Black Panther is not the first prominent attempt to diversify the cinematic white superheroics and thus not the first to disappoint. After Netflix’s Daredevil affirmed the strong television market for heroes, the media company moved to develop shows for other characters that populate the comic. Jessica Jones, about a white heroine, was a critical success. It handled its tough female protagonist intelligently. That show introduced the character of Luke Cage (Michael Colter), an indestructible black man. When Netflix announced that Cage would have his own show, the anticipation was intense: a bulletproof black man in the age of Trayvon Martin and Michael Brown? And he would wear a hoodie and fight police? Instead we got a tepid depiction Harlem poverty, partly the consequence of institutional racism but more closely tied to the greed expressed by two of its big bad black baddies, Black Mariah (Alfre Woodard) and Cottonmouth (Mahershala Ali). But that was not the worst of it. The ultimate evil in the show’s first and only season is Willis Stryker (Eric Laray Harvey), another black man whom Luke Cage must defeat. Stryker is not only a black villain, but Cage’s adopted brother. Cage must beat his brother to a pulp, just as Panther must kill his cousin.

The offenses don’t end, though. If one surveys the Marvel cinematic universe, one finds that the main villains—even those far more destructive than Killmonger—die infrequently. They are formidable enemies who live to challenge the hero again and again. A particularly poignant example is Loki, brother to Thor, the God of Thunder. Across the Thor and Avengers movies that feature him, Loki is single-handedly responsible for incalculable misery and damage; his power play leads to an alien invasion that nearly levels all of Manhattan. Yet Thor cannot seem to manage any more violence against Loki than slapping him around a bit and allowing other heroes to do the same—even as Loki tries to kill Thor. Loki even gets his turn to be a good guy in the recent Thor: Ragnarok. Loki gets multiple, unearned chances to redeem himself no matter what damage he has done. Killmonger, however, will not appear in another movie. He does not get a second chance. His black life did not matter even in a world of flying cars and miracle medicine. Why? Perhaps Killmonger’s main dream to free black people everywhere decisively earns him the fate of death. We know from previous Marvel movies that Killmonger’s desire for revenge is not the necessary condition to eliminate him; Loki’s seeming permanence is proof.

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My claim that Killmonger’s black life does not matter is not hyperbole. In a macabre scene meant to be touching, Black Panther carries Killmonger to a plateau so that he might see the sun set on Wakanda before dying. With a spear stuck in his chest, he fulfills his wish to appreciate the splendor his father described, when Wakanda seemed a fairy tale. T’Challa offers Wakanda’s technology to save Killmonger’s life—it has saved the white CIA agent earlier in the film. But Killmonger recalls his slave heritage and tells Panther he’d rather die than live in bondage. He knows the score. He knows that Panther will incarcerate him (as is disproportionately common for black American men). The silence that follows seems to last an eternity. Here is the chance for the movie to undo its racist sins: T’Challa can be the good person he desires to be. He can understand that Killmonger is in part the product of American racism and T’Chaka’s cruelty. T’Challa can realize that Wakanda has been hoarding resources and come to an understanding with Killmonger that justice may require violence, if as a last resort. After all, what else do comic-book heroes do but dispense justice with their armored fists and laser rifles? Black Panther does not flinch. There is no reconciliation. Killmonger yanks the spear out of his chest and dies. The sun sets on his body as it did on Michael Brown’s.

It is fair to wonder whether the movie merely reflects the racial politics of the comic books that serve as its inspiration. Yes and no. In the movie, Killmonger’s relationship to T’Challa is as the comic-book canon portrays it. Killmonger is a deadly killer in the comics as in the movie, but he is also extremely intelligent, studying at MIT to understand the technology he goes on to deploy. In the movie, Killmonger’s only skill is killing; if Coogler intended to make Killmonger a hood-born genius, he has failed badly.
In the comics, Killmonger also dies at Black Panther’s hands. But KIllmonger dies long after he has come to live in Wakanda, albeit under a veil of deceit, before attempting a coup. The comic thus opens (but ultimately rejects) an opportunity to save Killmonger to fight for another day, just as Loki is repeatedly saved. The movie completely forecloses this possibility, which is odd since we can all be fairly certain that there will be a sequel.

What alternative story-lines might have satisfied?
I couldn’t help think of Ulysses Klaue, a mainline villain in the comics who lives a long, infamous life. He would have been a perfectly good villain to motivate the movie’s attempt at wokeness. In the comics, there is bad blood between the Klaue clan and Wakanda’s royal lineage (Klaue’s Nazi grandfather died by the hands of Chanda, an earlier Wakandan king and Panther). In Klaue, we had a white villain whose bloodline is imbued with the sins of racism. Ramonda, played by the ever-regal Angela Bassett, is temporally misplaced in the movie. In the comics canon, T’Challa takes the mantle of the Panther while Ramonda, T’Challa’s stepmother, is being held captive by a white magistrate in apartheid South Africa. If Coogler had at all been interested in making Panther a symbol of racial reparation he could have easily placed Klaue in South Africa, even post-apartheid, and the rescue of Ramonda—with Klaue in the way—could have driven the narrative. Ramonda is prominent in the movie, but she does not animate the movie’s central drama.  Instead, Black Panther is set on a course to kill off his cousin in his first outing, suggesting yet another racist trope, the fractured black family as a microcosm of the black community’s inability to get it together.

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You will have noticed I have not said much about the movie’s women. They are the film’s brightest spot: the black women of Wakandan descent are uniformly independent, strong, courageous, brilliant, inventive, resourceful, and ethically determined. I take it that a good deal of this is owed to Ta-Nehisi Coates’s success at elevating the series’ women to central characters with influence and power that turns more on their minds and integrity than their bodies. T’Challa’s sister, Shuri (Letitia Wright), is sufficiently brilliant to make the Q character from James Bond films seem a clever child with some interesting ideas, while Nakia (Lupita N’yongo) is the ethical center of the film, thoughtful and lacking any stereotypical hysterics or emotional cloudiness that so many movies use to savage the intellect of leading women. Thus the movie deserves praise for its gender politics—save in relation to the only black American woman. The character, Tilda Johnson, a.k.a. the villain Nightshade, has, by my count, less than fifteen words to say in the movie, and is unceremoniously murdered by Killmonger because Klaue is using her as a shield and Killmonger just ain’t got time for that. The lone American black woman is disposed of by black-on-black violence. She is also invisible and nearly silent. In the comic books her character is both a genius and alive and well.

Black Panther presents itself as the most radical black experience of the year. We are meant to feel emboldened by the images of T’Challa, a black man clad in a powerful combat suit tearing up the bad guys that threaten good people. But the lessons I learned were these: the bad guy is the black American who has rightly identified white supremacy as the reigning threat to black well-being; the bad guy is the one who thinks Wakanda is being selfish in its secret liberation; the bad guy is the one who will no longer stand for patience and moderation—he thinks liberation is many, many decades overdue. And the black hero snuffs him out.

When T’Challa makes his way to Los Angeles at the movie’s end, he gestures at all the buildings he has bought and promises to bring to the distressed youths the preferred solution of mega-rich neoliberals: educational programming. Don’t get me wrong, education is a powerful and liberatory tool, as Paulo Freire taught us, but is that the best we can do? Why not take the case to the United Nations and charge the United States with crimes against humanity, as some nations tried to do in the early moments of the Movement for Black Lives?

Black Panther is not the movie we deserve. My president already despises me. Why should I accept the idea of black American disposability from a man in a suit, whose name is synonymous with radical uplift but whose actions question the very notion that black lives matter?

Article by Christopher Lebron

Black Panther: Pan African Superhero?

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One of the problems with Black superheroes in Marvel and DC comics is that they may look Black, but very rarely do they reflect the experiences and struggles of Black people. This was a point that was made Kenneth Ghee who explained in Black Comics: Politics of Race and Representation that: “Historically in comic books and movies, the Black superhero operates in a totally Eurocentric (White) context; no Black family, no Black lover, no connection to community or culture…For him (and for us and our children) there is no Black consciousness or Black cause, only a generalized ‘humanitarian’ supportive role from a Eurocentric worldview and perspective.” Given that the Black Panther movie is set to be released next month, I would like to point out that one of the unique things about the Black Panther is that he is one Black superhero who has to confront many of the problems that Black people confront daily. The Black Panther doesn’t just live in Africa, he also lives many of the real problems that Africa has faced and continues to face. Black Panther comics are filled with themes of Western imperialism, colonialism, and neo-colonialism in Africa. These themes are especially prominent in the six episode cartoon series which was an adoption of Reginald Hudlin’s run of the comics.
In the comics Wakanda is the most technologically advanced country in the world because the people of Wakanda are able to utilize their country’s resources for their own benefit. Wakanda was the only African country never to be colonized or conquered, so it did not suffer through the ravages of the slave trade and colonialism which disrupted Africa’s development and, as Walter Rodney explained, underdeveloped Africa. Some have defended colonialism by arguing that colonization was a benefit to Africa because it introduced European technology, but this was not entirely the case. The technology that was introduced was utilized in the service of European domination in Africa. The vast majority of colonized Africans were exploited and impoverished, and they did not benefit from European technology in any significant way.

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Ethiopia was able to fend off the Italian invasion and under Menelik II’s rule Ethiopia made many technological advances, including establishing a railway, a postal service, and the country’s first hospital. This was because without European domination Ethiopia was free to adopt European technology and apply it in ways that were beneficial to their country, but the other colonized African nations did not have this benefit. Whereas Menelik was able to establish a hospital, in many colonies Africans were malnourished and given inadequate medical care. In Mozambique the Portuguese failed to train a single African doctor and Guinea-Bissau was even more neglected by the Portuguese colonialists than Mozambique was. Julius Nyerere, the first president of Tanzania, once explained that by the time Tanzania gained its independence the country only had 12 doctors. Wakanda presents us with a glimpse of where Africa could have been had it not been for colonialism, as well as a glimpse of where Africa could very well be with the proper leadership.
Comic book superheroes are typically people who decide to become superheroes due to personal tragedy or by obtaining superheroes, but the Black Panther is unique in that he has inherited his role as a superhero. T’Challa comes from a long dynasty of Black Panthers that have protected Wakanda for thousands of years. The Black Panther does fight the typical super villains that are found in comics, but what makes this character unique for people of African descent is that the Black Panther also fights a threat that Africans had to fight in real life, which is European colonization. For example, one story in Hudlin’s run depicts one of T’Challa’s ancestors defending his nation against an assault led by a European settler known as Klaue. In the story Klaue is a soldier who fought military campaigns in South Africa and has nothing but contempt for Africans, whom he views as uncivilized savages.

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T’Challa’s own story is rooted in Africa’s struggle against neo-colonial forces. T’Challa’s father, T’Chaka, was murdered for refusing to give up Wakanda’s most valuable resource, which is a fictional metal known as vibranium. In Hudlin’s retelling of the story, T’Chaka’s assassination was part of a plot that was carried out by various Western countries that were unable to talk T’Chaka into giving them his country’s resources. When they realized that T’Chaka could not be bought off, their next option was to simply kill him. This brings to mind the assassinations of Patrice Lumumba, Thomas Sankara, and other African leaders who were killed or overthrown by Western countries for refusing to serve the interests of those countries. T’Challa ascends to the throne and has to remain cautious about the fact that the very governments that assassinated his father would be plotting to do the same to him.
Aside from the Western governments that seek to undermine Wakanda to exploit its wealth, the Black Panther also has to confront African dictators such as M’Butu, who is one of the antagonists in the cartoon series. M’Butu is the dictator of a nation that borders Wakanda and he is depicted as being the opposite of T’Challa. M’Butu is greedy, self-serving, and is easily paid off like many of the dictators that continue to rule Africa today. M’Butu is also a close American ally and even agrees to participate in a plot to overthrow the Black Panther. Black Panther not only fights to protect his nation against European invaders, but against African traitors as well.
I am not sure how deeply the movie will delve into these themes. The anti-colonialist message found in the cartoon series and some of the comics was toned down when the Black Panther was introduced in Captain American: Civil War. In that movie T’Chaka’s assassination was part of a plot to frame the Winter Soldier rather than being an assassination that was carried out because T’Chaka refused to give up his country’s resources. Even if the anti-colonialist message is toned down, I still think the significance of the Black Panther movie is that it’s a movie that will challenge some of the ways Africa and African people are typically depicted in the mainstream media. It is also significant in that it has a message that is relevant to all people of African descent. For African Americans and others in the diaspora it is a reminder that there is more to our history that slavery, and for those on the African continent it is a reminder of the great potential that Africa has.

Article by Dwayne Omowale

Comic Book films-Black Heroes,White Wealth(Part 1 of 2)

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There’s been a lot of hype about the upcoming Black Panther film. The film is set to be released worldwide on February 16,2018. Which is convenient since February is Black History Month right?  Anyone who follows my blog knows I have mentioned I grew up reading comic books as a child.  I read a lot of DC and Marvel comic books.  I used to read Spider Man,Batman,Superman,The Hulk,X Men and The Fantastic Four. Over the years I have collected hundreds of comic books.  But I was always fascinated by the black comic book characters.  Some of my favorites were Storm,Black Lightning,Steel,Misty Knight and Luke Cage.  But my favorite was probably Black Panther. Panther first appeared in Fantastic Four issue #52 back in 1966.  That issue of Fantastic Four is selling for $400-$800 on the internet.  Although after the Panther film comes out I’m sure the price will skyrocket.  I always thought Black Panther was a cool character.  Panther’s birth name is T’Challa. T’Challa’s senses and physical attributes have been enhanced to superhuman levels by the heart-shaped herb.  T’Challa is a brilliant tactician, strategist, scientist, tracker and a master of all forms of unarmed combat whose unique hybrid fighting style incorporates acrobatics and aspects of animal mimicry. T’Challa being a royal descendent of a warrior race is also a master of armed combat, able to use a variety of weapons but prefers unarmed combat. He is a master planner who always thinks several steps ahead and will go to extreme measures to achieve his goals and protect the fictional kingdom of Wakanda.  Wakanda is not a real African country.  But it could just as well be Kenya,Nigeria,Tanzania or Ghana.  And this is one of my conerns about the film.  I have covered great African civilizations on this blog many times. Most of us know about The Mali empire as well as ancient Kemet(Egypt),Ghana and Kingdom of Kush. So why is Hollywood making films about fictional African empires when real ones exist?  Of course you know why right?

 

I will admit that the trailer looks really good.  The visuals are nice and it looks to be action packed.  I have watched the reaction from many black film goers on the internet.  I would say that 85% of the reaction has been positive.  And I can see why.  Talented actor Chadwick Boseman  plays the title character.  The cast has some pretty big names. The cast includes Angela Bassett,Forest Whitaker,Danai Gurira,Michael B. Jordan,Lupita Nyongo(my favorite),Daniel Kaluuya and Letitia Wright. It’s a majority black cast.  Even the director Ryan Coogler is a black man.  So is this a black film? It seems like it.  But of course the film is being made by Marvel Studios.  Marvel Studios was bought by the Walt Disney Company back in 2009 for 4.24 billion dollars. I did a post in the past about the wicked and racist Disney company.  The Disney president and CEO is a white man named Robert Iger.  So the Black Panther film is basically a Disney film with a black cast.

Black Superheroes..

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I have done many posts on racist Hollywood and their negative stereotypes. Many black people are excited about this film.  And it’s because we want to see ourselves in a positive light.  We want to see ourselves looking glorious and majestic.  We want to see black people as kings and queens on the big screen. Hollywood has given the masses films about Roman empires for years.  Films like Ben Hur,Julius Caesar,Spartacus and Gladiator.  Not to mention fictional films/tv shows like Lord of The Rings and Game of Thrones.  They give us hundreds of films showing them as powerful kings and queens.  Then when they want to show African royalty…we get a fictional country??  That is white supremacy at it’s best.  The film looks good but I know how Hollywood operates.  I will be looking for any type of anti-blackness in this film.  And I’m sure there will be some type of black degradation in it.  I wouldn’t be surprised if there’s some interracial love going on . Maybe they’ll slip in some lesbian/homosexual scene.  Or possibly showing African traitors in which to instill black people to not trust each other.  I could be wrong…but I doubt it.

Kingdom Kush...

Wakanda is fictional but the Kingdom of Kush was real. Don’t get me wrong,I have nothing against fictional stories.  I grew up enjoying films and television shows like Star Trek and Star Wars.  I think they can be fun and entertaining.  I just think we have to be mindful who is getting our money when we pay for these films.  Black Panther looks like it will be a big blockbuster.  And I’m glad the mostly black cast is getting paid.  But the white owned Disney/Marvel company will be getting the majority of the money. We will be giving our money right back  to racist Hollywood.  They are just doing this film to throw black people a bone! But there are many black comic book artists and writers that could use our support.  That’s what I’ll address in part two.

 

Moonlight-Gay Propaganda Film

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The film Moonlight came out back in October.  I meant to do a post about it and never got around to it.  But I heard that it was getting rave reviews by white film critics.  Some were calling it “powerful” and “best film of the year”. When I heard it had a black cast it peaked my interest. But  I knew that if white critics loved it the film must have some type of black degradation in it.  It has to promote one of the following: black criminals, black whores,drug addiction,interracial sex,lesbians,homosexuality and black self destruction.  It’s always a pattern with black films promoted by the white media.  Just like the horrible film Precious that promoted nothing but black death and destruction.  So when I saw the trailer….I knew I was right. This is more black pathology. I saw this morning on the news that Moonlight got six Golden Globe nominations. This should not be surprising at all. The film is directed by Barry Jenkins.  I’m sure he will become the  “new Lee Daniels”.  Here is the synopsis from the website:

“A timeless story of human connection and self-discovery, MOONLIGHT chronicles the life of a young black man from childhood to adulthood as he struggles to find his place in the world while growing up in a rough neighborhood of Miami.At once a vital portrait of contemporary African American life and an intensely personal and poetic meditation on identity, family, friendship, and love, MOONLIGHT is a groundbreaking piece of cinema that reverberates with deep compassion and universal truths. Anchored by extraordinary performances from a tremendous ensemble cast, Jenkins’s staggering, singular vision is profoundly moving in its portrayal of the moments, people, and unknowable forces that shape our lives and make us who we are.”

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The video(above) is with one of the actors in the film,Andre Holland. He plays a homosexual in the film.  In this interview he explains there are “different shades to masculinity and black manhood”.  And I think that’s the motive of films like this.  This film is nothing but a “black gay coming of age” film. The racist white media promotes these type of films and give them awards because it supports THEIR agenda.  They want to redefine black manhood and masculinity.  They want to reshape us from being warriors and protectors of our neighborhood…into being homosexuals,queers and cross dressers.  White actors play mostly heroes and saviors while black men are given awards for playing homosexuals????Hmmmmm…..something is wrong with that picture.  These type of films are an insult to our intelligence.  Also the films stars Mahershala Ali,Naomie Harris,Janelle Monae and Ashton Sanders.  And Naomie Harris plays the crack addicted mother.  You know the drug abuse always has to be there in a black film right?  This is just more Hollywood propaganda.  In the next few weeks you’ll be hearing a lot about this film.  But don’t fall for it.  I’m asking all my subscribers do NOT support this film.  Save your damn money. This is more anti-black,pro-gay,pro-black death and black self destruction.  Black actors will always be rewarded for this type of homophile filth.  Peace brothers and sisters and always stay vigilant!

Will you go see Birth of a Nation?

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I know this might not be a popular viewpoint so let me state that this is simply my position. I do not condone, nor can I excuse the actions of Nate Parker when he was a younger man. As a survivor of sexual assault I understand first hand that it leaves scares that one must learn to live with. I can only hope that he has learned how devastating his behavior was, and become an advocate against sexual assault. I must say my concern is that personal issue with Parker threatens to take away from a film that we need to see. Too many of us have supported people that have done very terrible things in the name of being entertained. However, this isn’t just about entertainment but a story that needs to be told.

I personally find the timing of the Nate Parker story interesting. It came and caused some to say I won’t see the film because I refuse to support Parker. I truly believe this was the overall agenda of the media. Think about it… how many films do we have that depict the enslavement periods? We have quite a few, varying in accurately, but how many depict uprising? To many say we should move on from this period because it is in the past. We need to put slavery behind us we are told.

However, no one tells Holocaust survivors and descendants to move on. Yet the bottom line is there is plenty of accepted open dialog on the Holocaust. Germany has had to reckon with that history. Truth be told… the reason we can’t just move on is because America has never reckoned with the enslavement of black people. It has never been dealt with. Yes, we are aware it happened but the ramifications of it have never been dealt with.

Right now we have schools trying to rewrite history in an attempt to erase the evil of Americans past. Instead of facing where we have been as a nation… we are trying to wash it away. That is simply impossible. We need the arts (film, literature, art, music) to tell our story. It’s important that it be told all of the enslaved did not accept their condition lying down. It’s important for the very psyche of American born blacks to know yes we did fight back. The depiction of us in the world is not always accurate. It’s important that other people of color, as well as our African brothers and sisters, know our plight. It needs to be our story told by us.

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This film is bigger than Nate Parker, and its need is great. I don’t condone his behavior as a man, yet I appreciate his courage to make such a film. As one who majored in English, and History, I will be going see this film at least twice. I will view it once for myself, and once to write a review. I support the telling of our stories. The voices of our ancestors have been silenced from us for far too long. We need to feel their strength and understand their sacrifice. I’m going see Birth of a Nation, and I hope many of us will be in the theatre to support the telling of our history… by us. Birth of a Nation releases in theaters nationwide October 7, 2016.

Article written by Christian Starr