Details
Afrofuturism in Black Panther
Gender, Identity, and the Re-Making of Blackness|
CHF 49.00 |
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| Verlag: | Lexington Books |
| Format: | EPUB |
| Veröffentl.: | 30.08.2021 |
| ISBN/EAN: | 9781793623584 |
| Sprache: | englisch |
| Anzahl Seiten: | 382 |
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Beschreibungen
<p><span>Afrofuturism in Black Panther: Gender, Identity, and the Re-making of Blackness</span><span>, through an interdisciplinary and intersectional analysis of </span><span>Black Panther</span><span>, discusses the importance of superheroes and the ways in which they are especially important to Black fans. Aside from its global box office success, </span><span>Black Panther</span><span> paves the way for future superhero narratives due to its underlying philosophy to base the story on a narrative that is reliant on Afro-futurism. The film’s storyline, the book posits, leads viewers to think about relevant real-world social questions as it taps into the cultural zeitgeist in an indelible way. Contributors to this collection approach </span><span>Black Panther</span><span> not only as a film, but also as Afrofuturist imaginings of an African nation untouched by colonialism and antiblack racism: the film is a map to alternate states of being, an introduction to the African Diaspora, a treatise on liberation and racial justice, and an examination of identity. As they analyze each of these components, contributors pose the question: how can a film invite a reimagining of Blackness?</span></p>
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<p><span>This book examines </span><span>Black Panther</span><span> not only as a film grounded in Afro-futurism, but also as an invitation for viewers to think about relevant real-world social questions about identity, liberation, and racial justice, ultimately posing the question of how </span><span>Black Panther</span><span> invites a reimagining of Blackness. </span></p>
<p><span>Preface</span></p>
<p><span>Zeinabu irene Davis</span></p>
<p><span>Chapter 1: I Dream a World: Black Panther and the Re-Making of Blackness</span></p>
<p><span>Renée T. White</span></p>
<p><span>Chapter 2: The Power in Numbers: Ensemble Stunt Performance in </span><span>Black Panther</span><span> and Histories of Practice</span></p>
<p><span>Lauren Steiner</span></p>
<p><span>Chapter 3: From Expressivity to Equanimity: New Black Action in </span><span>Black Panther</span></p>
<p><span>Wayne Wong</span></p>
<p><span>Chapter 4: Paid the Cost to be the Boss: Chadwick Boseman, </span><span>Black Panther</span><span>, and the Future of the Black Biopic </span></p>
<p><span>Mikal J. Gaines</span></p>
<p><span>Chapter 5: Let Ayo Have a Girlfriend: Resisting Black Lesbian Erasure on Twitter</span></p>
<p><span>Sarah E. S. Sinwell</span></p>
<p><span>Chapter 6: “Tell Me a Story Baba”: </span><span>Black Panther</span><span> and Wakanda’s Foreign Policy in the Age of Neo-liberalism</span></p>
<p><span>Clarence Lusane</span></p>
<p><span>Chapter 7: The Underground Railroads as Afrofuturism: Enslaved Blacks that Imagined Freedom, Future, and Space</span></p>
<p><span>dann j. Broyld</span></p>
<p><span>Chapter 8: The Evolution of Dora Milaje: Wakanda’s Greatest Warriors in Comics and Film</span></p>
<p><span>Josh Truelove</span></p>
<p><span>Chapter 9: “The Prince Will Now Have the Strength of the Black Panther Stripped Away”: Reading Disability and Queerness in Killmonger</span></p>
<p><span>Dominique Young</span></p>
<p><span>Chapter 10: Only When She Wants To: Code-Switching in </span><span>Black Panther</span></p>
<p><span>Paul Moffett</span></p>
<p><span>Chapter 11: The </span><span>Dore Milaje</span><span> in Real Life: A Continuing Legacy of African Warriors</span></p>
<p><span>Myron T. Strong, K. Sean Chaplin, and Giselle Greenidge</span></p>
<p><span>Chapter 12: Echoes of the History of Black Utopian Visions, “Black Manhood,” and Black Feminism in the Making of </span><span>Black Panther</span></p>
<p><span>Dolita Cathcart</span></p>
<p><span>Chapter 13: Tradition, Purpose, and Technology: An Archaeological Take on the Role of Technological Progress in </span><span>Black Panther</span></p>
<p><span>Shayla Monroe</span></p>
<p><span>Chapter 14: Reflections on </span><span>Black Panther </span><span>and the Traditions of Third Cinema</span></p>
<p><span>Cynthia Baron</span></p>
<p><span>Chapter 15: The Depiction of Homeschooling, Black Identity, and Political Thought in the Film </span><span>Black Panther</span></p>
<p><span>Khadijah Z. Ali-Coleman</span></p>
<p><span>Chapter 16: Two Paths to the Future: Radical Cosmopolitanism and Counter-Colonial Dignity in </span><span>Black Panther</span></p>
<p><span>Neal Curtis</span></p>
<p><span>Chapter 17: My Blood Right: A Critical Analysis of </span><span>Black Panther</span><span>’s Killmonger, Colonialism, and Hybrid Identity</span></p>
<p><span>Gabriel A. Cruz</span></p>
<p><span>Chapter 18: The Other Worlds of </span><span>Black Panther’</span><span>s Purple Heart-Shaped Herb</span></p>
<p><span>Paul Karolczyk</span></p>
<p><span>About the Contibutors</span></p>
<p><span>Zeinabu irene Davis</span></p>
<p><span>Chapter 1: I Dream a World: Black Panther and the Re-Making of Blackness</span></p>
<p><span>Renée T. White</span></p>
<p><span>Chapter 2: The Power in Numbers: Ensemble Stunt Performance in </span><span>Black Panther</span><span> and Histories of Practice</span></p>
<p><span>Lauren Steiner</span></p>
<p><span>Chapter 3: From Expressivity to Equanimity: New Black Action in </span><span>Black Panther</span></p>
<p><span>Wayne Wong</span></p>
<p><span>Chapter 4: Paid the Cost to be the Boss: Chadwick Boseman, </span><span>Black Panther</span><span>, and the Future of the Black Biopic </span></p>
<p><span>Mikal J. Gaines</span></p>
<p><span>Chapter 5: Let Ayo Have a Girlfriend: Resisting Black Lesbian Erasure on Twitter</span></p>
<p><span>Sarah E. S. Sinwell</span></p>
<p><span>Chapter 6: “Tell Me a Story Baba”: </span><span>Black Panther</span><span> and Wakanda’s Foreign Policy in the Age of Neo-liberalism</span></p>
<p><span>Clarence Lusane</span></p>
<p><span>Chapter 7: The Underground Railroads as Afrofuturism: Enslaved Blacks that Imagined Freedom, Future, and Space</span></p>
<p><span>dann j. Broyld</span></p>
<p><span>Chapter 8: The Evolution of Dora Milaje: Wakanda’s Greatest Warriors in Comics and Film</span></p>
<p><span>Josh Truelove</span></p>
<p><span>Chapter 9: “The Prince Will Now Have the Strength of the Black Panther Stripped Away”: Reading Disability and Queerness in Killmonger</span></p>
<p><span>Dominique Young</span></p>
<p><span>Chapter 10: Only When She Wants To: Code-Switching in </span><span>Black Panther</span></p>
<p><span>Paul Moffett</span></p>
<p><span>Chapter 11: The </span><span>Dore Milaje</span><span> in Real Life: A Continuing Legacy of African Warriors</span></p>
<p><span>Myron T. Strong, K. Sean Chaplin, and Giselle Greenidge</span></p>
<p><span>Chapter 12: Echoes of the History of Black Utopian Visions, “Black Manhood,” and Black Feminism in the Making of </span><span>Black Panther</span></p>
<p><span>Dolita Cathcart</span></p>
<p><span>Chapter 13: Tradition, Purpose, and Technology: An Archaeological Take on the Role of Technological Progress in </span><span>Black Panther</span></p>
<p><span>Shayla Monroe</span></p>
<p><span>Chapter 14: Reflections on </span><span>Black Panther </span><span>and the Traditions of Third Cinema</span></p>
<p><span>Cynthia Baron</span></p>
<p><span>Chapter 15: The Depiction of Homeschooling, Black Identity, and Political Thought in the Film </span><span>Black Panther</span></p>
<p><span>Khadijah Z. Ali-Coleman</span></p>
<p><span>Chapter 16: Two Paths to the Future: Radical Cosmopolitanism and Counter-Colonial Dignity in </span><span>Black Panther</span></p>
<p><span>Neal Curtis</span></p>
<p><span>Chapter 17: My Blood Right: A Critical Analysis of </span><span>Black Panther</span><span>’s Killmonger, Colonialism, and Hybrid Identity</span></p>
<p><span>Gabriel A. Cruz</span></p>
<p><span>Chapter 18: The Other Worlds of </span><span>Black Panther’</span><span>s Purple Heart-Shaped Herb</span></p>
<p><span>Paul Karolczyk</span></p>
<p><span>About the Contibutors</span></p>
<p><span>Renée T. White</span><span> is provost and executive vice president at The New School.</span></p>
<p><span>Karen A. Ritzenhoff</span><span> is professor of communication and women, gender, and sexuality studies at Central Connecticut State University. </span></p>
<p><span>Karen A. Ritzenhoff</span><span> is professor of communication and women, gender, and sexuality studies at Central Connecticut State University. </span></p>
<p><span>10/24/22, </span><span>Choice Reviews</span><span>: This book was highlighted in this "review of the week" feature.</span></p>
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<p><span>Link: <a href="https://www.choice360.org/choice-pick/afrofuturism-in-black-panther-gender-identity-and-the-re-making-of-blackness-rotw-10-24-22/"><span>https://www.choice360.org/choice-pick/afrofuturism-in-black-panther-gender-identity-and-the-re-making-of-blackness-rotw-10-24-22/</span></a></span></p>
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<p><span>Link: <a href="https://www.choice360.org/choice-pick/afrofuturism-in-black-panther-gender-identity-and-the-re-making-of-blackness-rotw-10-24-22/"><span>https://www.choice360.org/choice-pick/afrofuturism-in-black-panther-gender-identity-and-the-re-making-of-blackness-rotw-10-24-22/</span></a></span></p>
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