Wakandan Utopia, Blackman’s Techno-Scientific Imaginaries, and the Complexities of Pseudoscience in 'Black Panther'

The stereotypical representation of the Black world in Western cultural repositories has often been of great concern to scholars in African studies. This prejudicial delineation fosters dystopian sensibility on the unconscious mind of the Blackman who involuntarily internalises the myths of his sub-...

Full description

Bibliographic Details
Published in:Anglo Saxonica
Main Author: Emmanuel Adeniyi
Format: Article
Language:English
Published: Ubiquity Press 2022-04-01
Subjects:
Online Access:https://www.revista-anglo-saxonica.org/articles/68
_version_ 1851872763851046912
author Emmanuel Adeniyi
author_facet Emmanuel Adeniyi
author_sort Emmanuel Adeniyi
collection DOAJ
container_title Anglo Saxonica
description The stereotypical representation of the Black world in Western cultural repositories has often been of great concern to scholars in African studies. This prejudicial delineation fosters dystopian sensibility on the unconscious mind of the Blackman who involuntarily internalises the myths of his sub-humanity. Stephen Hopkins’ 'The Ghost and the Darkness' (1996), Antoine Fuqua’s 'Tears of the Sun' (2003), Terry George’s 'Hotel Rwanda' (2004), Fernando Meirelles’ 'The Constant Gardener' (2005), Kevin Macdonald’s 'The Last King of Scotland' (2006), Cary Fukunaga’s 'Beasts of No Nation' (2015), and Mira Nair’s 'Queen of Katwe' (2016), for instance, project the Black world as a locus horridus. Though this stereotype has been invalidated in many scholarly writings, the Hollywood superhero movie, 'Black Panther' (2018), further intensifies the repudiation, affirming the Blackman’s contributions to humanity, albeit with a touch of narcissism. Using sci-fi genre, the movie provides a fictional truth, abstracted reality averring the cargo cult thinking of the Blackman. This is because the movie envisions Black hegemony and a world that pays homage to the wealth and imagined techno-scientific prowess of the Blackman. In this article, I examine the underlying subtexts in the movie, interrogating its Afrofuturist or Africanfuturist agenda. I argue that the agenda is steeped in illusionism, fringe science, esoteric spirituality, and cargo cult mentation. I contend that the failure of the Black world to catch up with the rest of the world may have necessitated its love for esoteric and infantile desires, rather than exploring the material, empirical realities around it to effectuate tangible development.
format Article
id doaj-art-c0efb4c699aa4b72bc8a23dd2e88fbd8
institution Directory of Open Access Journals
issn 2184-6006
language English
publishDate 2022-04-01
publisher Ubiquity Press
record_format Article
spelling doaj-art-c0efb4c699aa4b72bc8a23dd2e88fbd82025-08-19T22:16:11ZengUbiquity PressAnglo Saxonica2184-60062022-04-0120110.5334/as.6846Wakandan Utopia, Blackman’s Techno-Scientific Imaginaries, and the Complexities of Pseudoscience in 'Black Panther'Emmanuel Adeniyi0Federal University, Oye-EkitiThe stereotypical representation of the Black world in Western cultural repositories has often been of great concern to scholars in African studies. This prejudicial delineation fosters dystopian sensibility on the unconscious mind of the Blackman who involuntarily internalises the myths of his sub-humanity. Stephen Hopkins’ 'The Ghost and the Darkness' (1996), Antoine Fuqua’s 'Tears of the Sun' (2003), Terry George’s 'Hotel Rwanda' (2004), Fernando Meirelles’ 'The Constant Gardener' (2005), Kevin Macdonald’s 'The Last King of Scotland' (2006), Cary Fukunaga’s 'Beasts of No Nation' (2015), and Mira Nair’s 'Queen of Katwe' (2016), for instance, project the Black world as a locus horridus. Though this stereotype has been invalidated in many scholarly writings, the Hollywood superhero movie, 'Black Panther' (2018), further intensifies the repudiation, affirming the Blackman’s contributions to humanity, albeit with a touch of narcissism. Using sci-fi genre, the movie provides a fictional truth, abstracted reality averring the cargo cult thinking of the Blackman. This is because the movie envisions Black hegemony and a world that pays homage to the wealth and imagined techno-scientific prowess of the Blackman. In this article, I examine the underlying subtexts in the movie, interrogating its Afrofuturist or Africanfuturist agenda. I argue that the agenda is steeped in illusionism, fringe science, esoteric spirituality, and cargo cult mentation. I contend that the failure of the Black world to catch up with the rest of the world may have necessitated its love for esoteric and infantile desires, rather than exploring the material, empirical realities around it to effectuate tangible development.https://www.revista-anglo-saxonica.org/articles/68black pantherafricanjujuismscience fictionidi aminweb du boischadwick boseman
spellingShingle Emmanuel Adeniyi
Wakandan Utopia, Blackman’s Techno-Scientific Imaginaries, and the Complexities of Pseudoscience in 'Black Panther'
black panther
africanjujuism
science fiction
idi amin
web du bois
chadwick boseman
title Wakandan Utopia, Blackman’s Techno-Scientific Imaginaries, and the Complexities of Pseudoscience in 'Black Panther'
title_full Wakandan Utopia, Blackman’s Techno-Scientific Imaginaries, and the Complexities of Pseudoscience in 'Black Panther'
title_fullStr Wakandan Utopia, Blackman’s Techno-Scientific Imaginaries, and the Complexities of Pseudoscience in 'Black Panther'
title_full_unstemmed Wakandan Utopia, Blackman’s Techno-Scientific Imaginaries, and the Complexities of Pseudoscience in 'Black Panther'
title_short Wakandan Utopia, Blackman’s Techno-Scientific Imaginaries, and the Complexities of Pseudoscience in 'Black Panther'
title_sort wakandan utopia blackman s techno scientific imaginaries and the complexities of pseudoscience in black panther
topic black panther
africanjujuism
science fiction
idi amin
web du bois
chadwick boseman
url https://www.revista-anglo-saxonica.org/articles/68
work_keys_str_mv AT emmanueladeniyi wakandanutopiablackmanstechnoscientificimaginariesandthecomplexitiesofpseudoscienceinblackpanther