Black Panther (2018) is now one of the most popular Hollywood movies across the globe featuring a predominantly Black cast. Its success lies not only in economic value, but also in its ability to present universal concerns of power, pride, and humanity from global Black perspectives. In this essay, we analyze Black Panther through the lens of postcolonial cultural critique guided by Afrofuturism to examine how the movie misrepresents itself as a vehicle for unifying complex histories of continental Africans and African diasporic perspectives on Blackness, home, and belonging. We argue that Black Panther's Afrofuturist unifying and codifying theme of Blackness, as transnationally shared intimate relations, while transformative, yields too much to Western neocolonial and cinematic fantasies about "Africa." We conclude by stating that while Black Panther is a welcome shift from the dominant white Western gaze; it also deserves a critical reading as an ongoing and imperfect project of emancipation from the dominant gaze.

In this autoethnographic article, I am interested in theorizing about how hybridity illuminates my lived experience of identity performed across cultures, and more specifically in diasporic context, at the intersections of various facets of my selfhood: Black, female, postcolonial, African, bi-tribal, diasporic, immigrant, nonnative English Speaker, “French native speaker,” and so on. I use personal narrative as a locus of subjectivity to recount critical moments of my lived experience as a hybrid subject navigating at the borderlands of two cultural worldviews: Congolese and American. My cross-cultural journey reveals a series of challenging and triumphant episodes from my childhood back home to my life in the United States, a journey during which I have experienced both privilege and oppression. My process of identity construction results in the creation of a third space that celebrates difference through new ways of being, encompassing cultural values from both the United States and the Congo. This process is articulated through different ways of being/not being “American” and/or “African” and just being “different.”

No abstract

No abstract

No abstract