Thuyết vị lai châu phi và câu chuyện về black panther 2018

VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF LINGUISTICS & CULTURES OF ENGLISH SPEAKING COUNTRIES GRADUATION PAPER AFROFUTURISM AND THE CASE OF BLACK PANTHER (2018) Supervisor : Đặng Ngọc Sinh, PhD Student : Vũ Phương Thảo Course : QH2015.F1.E2 Ha Noi, 2019 ĐẠI HỌC QUỐC GIA HÀ NỘI TRƯỜNG ĐẠI HỌC NGOẠI NGỮ KHOA NGÔN NGỮ VÀ VĂN HỐ CÁC NƯỚC NĨI TIẾNG ANH KHỐ LUẬN TỐT NGHIỆP THUYẾT VỊ LAI CHÂU PHI VÀ CÂU CHUYỆN VỀ BLACK PANTHER (2018) Giáo viên hướng dẫn : Đặng Ngọc Sinh, PhD Sinh viên : Vũ Phương Thảo Khoá : QH2015.F1.E2 Ha Noi, 2019 ACCEPTANCE PAGE I hereby state that I: Vũ Phương Thảo, QH2015.F1.E2, being a candidate for the degree of Bachelor of Arts, accept the requirements of the College relating to the retention and use of Bachelor‘s Graduation Paper deposited in the library In terms of these conditions, I agree that the origin of my paper deposited in the library should be accessible for the purpose of study and research, in accordance with the normal conditions established by the librarian for the care, loan or reproduction of the paper Supervisor‘s signature Signature Date ACKNOWLEDGEMENTS Firstly, I would like to express my heartfelt gratitude to my supervisor Dr Đặng Ngọc Sinh for the continuous support of my research, for his patience, motivation, and immense knowledge His guidance helped me in all the time of research and writing of this thesis I could not have imagined having a better supervisor and mentor for my study Besides my supervisor, my sincere thanks also goes to Dr Phung Ha Thanh for her consideration and support for the conduct of not only my thesis but also the other friends‘ undertaking their bachelors‘ thesis of the Countries Studies Division Without her precious comment and guidance, it would not be possible to conduct this research I would like to thank all of my 15E2 friends not only for their insightful comments and encouragement, but also for the hard question which incented me to widen my research from various perspectives Thank you for the stimulating yet frustrating discussions, for the sleepless nights we panicing together before deadlines, and for all the fun we have had in the last four years Last but not the least, I would like to thank my family: my parents and my brother for supporting me spiritually throughout writing this thesis and my life in general ABSTRACT This paper is a humanities-oriented research that investigates the development of a cultural aesthetic named Afrofuturism and examines the blockbuster superhero movie Black Panther as an artistic form that contributes to the development and widespread of the phenomenon In the first part, this paper offers informative knowledge about the history of Afrofuturism, presenting how the shape of the phenomenon changed over time thanks to the active movements of Afrofuturists This is achieved by analyzing the characteristics of the ideology in different points throughout history, from the middle of the 20th century to the arrival of the Black Panther, and identifying the related relating representative contributors In the latter part, the case – Black Panther – is evaluated by comparing and contrasting its features with that of Afrofuturism during the same period The results of this study are that Black Panther features all characteristics of Afrofuturism of the period the movie was born Besides, the film also adds one component of the cultural aspect of the phenomenon that has not been observed in any prior works of the 21st century – the Xhosa African language as a national and dominant language Finally, there are some suggestions regarding the possible future research approaches of the same topic – Afrofuturism and Black Panther Key terms: Afrofuturism; Afrofuturist; Afrofuturism 2.0; Pan-Africanism; Feminism; Black Panther TABLE OF CONTENT Introduction Futurism Throughout the history of Afrofuturism The case – Black Panther 23 Appendix The five dimensions of Afrofuturism 2.0 46 References 48 Introduction One of the noticeable features of both science fiction and speculative fiction is that, for the most part, black people are absent in those narratives As a result of the slavery systems, people from this community all over the world are envisioned as marginal human beings in the artistic works of literature, film, music featuring technological advancement - if there exists any envisioning at all (Anderson and Jones, 2014, as cited in Thomas, 2016) In 1915, for the first time in the cinema history, the Hollywood cinematic ―war to represent‖ the black American community was declared with the premiere of D.W Griffith‘s The Birth of a Nation (Diawara, 1993) In his work, Griffith constructed a stereotypical image of the black by restricting them within a certain social class (the criminal for example) and spaces (the kitchens), while promoting the superior image of the white being in the center After the movie, the boundary between the two races in the industry seemed to be extended with the making of numerous characters with the similar portrayal and, eventually, with the ban of ―Blacks participating in bourgeois humanism Hollywood screens‖ However, the rise of independent cinema in the latter half of the century had opened up the opportunities for the changes in the filmmakers Numerous independent movies made the effort of inspecting the black communities regarding their lives, their culture, and so on This period was the dawn of Afrofuturism as the media started to hypothesize a future without color, in which humankind is regarded as one race (Bould, 2007) Even though the official definition and explanation for the term were coined in 1994 by Mark Dery, its origin chased back a few decades Following this trend, Black Panther, the first superhero of African descent in American comics, was created by Marvel Comics in 1966 Many aspects of the African community were integrated into the comic, along with the characters‘ possession of advanced technology, all of which could be categorized as the representation of the phenomenon Afrofuturism (Canavan, 2013) However, only until the premiere of the motion picture version in early this year did ‗Black Panther‘ and its representation of black culture receive such public concentration Besides the news regarding the movies‘ worldwide cinematic achievements and population, we could observe the obsession of movie goers and fans with the black‘s social practices such as numerous online cosplays of their traditional clothes or the Wakanda greetings As a result, the newspapers actively published articles examining the African cultures of the movie However, culture is only one component of the ideology of Afrofuturism – the phenomenon that has been proved the existence in the comic version Subsequently, concerning the fact that there is a lack of research articles centering on the representation of Afrofuturism in the movie, this research attempts to prove that there exists such an ideology employed in the movie and to investigate its practice in the masterpiece Although the phenomenon has been mentioned a lot in the world‘s largest newspapers such as The NY Times or The Independent after the worldwide success of the movie, these newspapers‘ investigation in the practice of the phenomenon in the movie only stops at stating that there exists such feature There is a lack of thorough inspection with justifiable examples and reasoning that proves the existence of a link between Afrofuturism and the movie For instance, in the article ‗The Afrofuturistic Designs of Black Panther‘ (2018), only some African authentic designs of the main characters, such as the Black Panther suit or the queen‘s crown, are given detailed attentions while the others are neglected Due to this lack of some pieces, the whole puzzle of how African traditional culture is presented through the movie is uncompleted Moreover, these newspapers tend to exploit the movie, along with its ancestor – the comic, as an example influenced by the phenomenon to introduce their discussion about the term and its historical development rather than examining how the movie is considered a representative of the trend Concerning the research field, although Afrofuturistic features of Black Panther have been explored by some researchers, only the comic version has been inspected One example is Nama‘s article (2009) which examines how black superheroes, taking Black Panther as a subject to investigate, function as Afrofuturistic metaphors However, transforming an over-50year-old comic series into an over-two-hour-long motion picture, it is indisputable that certain adaptation has been made As a result, even though both of the artistic forms feature this ideology, Afrofuturism may be presented differently in the two types, thereby needing an independent research article that centers on the large-screen version only If conducted, this research is the first one that delves into the establishment of Afrofuturism in a superhero movie - Black Panther Conducting this research, I hope to propose a significant analytical view of the most famous ‗all-black‘ masterpiece in the most interesting way possible Futurism Prior to the appearance of Afrofuturism, there existed an artistic and social movement in Italy in the early twentieth-century with a rather relatable name – Futurism With the publication of the Manifesto of Futurism (Manifesto del Futurismo), written by the Italian poet Filippo Tommaso Marinetti, in February 1909, Futurism was first introduced to the public In his proclamation, Marinetti formulated an artistic philosophy called Futurism that emphasized the exclusion of the past alongside with an advocating of a future with modernization and revitalization "We want no part of it, the past We the young and strong Futurists!" (Marinetti, 1909) The Manifesto published in the French paper Le Figaro, February 1909.1 It was clear that the manifesto was written with a view to liberating Italy from the burden from its past traditions and glorifying modernity Soon afterward, Italian began to witness its revolutionary cultural transformation as a group of radical Italian artists, who called themselves by the name The Futurists, unified with the aim to employ modern means of communication to spread the idea Strengthening their focus on creating a unique and dynamic vision of the future, the Futurists desired to abandon traditional artistic notions and praise the take-over of the machine age In their Picture source: Google illustration of the so-call ―the future‖, depictions of urban landscapes like industrial cities as well as new technologies such as trains, cars, and airplanes were embedded In order to express their idea of speed and motion, a number of peculiar techniques, including blurring, repetition, and the use of lines of force were developed Such incorporation became a representative feature of Futurist images Afterward, the Futurists, through creating and publishing numerous different manifestos, attempted to deliver their aesthetic and social ideals However, the underlying principles for all of those works are taken from Marinetti‘s general Manifesto, which generalized the spirit of Futurism: praising the takeover of the technology and machine era, as well as demoting traditional arts The period when the group had the most influence on the public was between 1909 and 1914, before it was disbanded by Marinetti after World War 1st Later on, he recruited new artists to form another group known as the second generation of Futurism Though flourishing in Milan, the movement soon moved to Naples and Turin before it was eventually brought abroad by Marinetti Although most thriving in Italy, Futurist ideas were utilized by artists in Britain, the US and Japan and Futurist works were displayed all over Europe Some famous artworks that overview the core ideology of the movement2 The City Rises (1910) Funeral of the Anarchist Galli (1910-11) By Umberto Boccioni By Carlo Carrà A critical and initial distinction between the two concepts, Futurism and Afrofuturism, concerns the places and communities where they originated from While the former began as a movement among European intellectuals and artists, leading to a current situation where "The powerful employ futurists and draw power from the Picture source: Google 32 Music – Black Panther: The Album Curated by Kendrick Lamar, that the Black Panther soundtrack debuted at No Rolling Stone came as no surprise Black Panther: The Album sold 154,000 copies in its first week of release, which was more than a third of the traditional album sales Co-produced by Lamar and Top Dawg Entertainment‘s founder – Anthony ―Top Dawg‖ Tiffith, the soundtrack is a quite unconventional, with only three of its 14 songs actually appearing in the film Nonetheless, Lamar is still credited as the songwriter on every track The scope of Black Panther soundtrack is Pan-African, which is similar to the film cast that features black actors from different regions namely ZimbZimbabwe, Kenya, Tobago, South Africa, the U.K and U.S Furthermore, Lamar conducted a project of recruiting artists that bears resemblance to king T‘Challa efforts of reconciling a fragmented Wakanda He stepped up a collaborative effort that ―criss-crosses continents, hops genres and crosspollinates perspectives‖ (Carmichael & Madden, 2018) Black Panther: The Album features some most outstanding and renowned voices in the American hiphop community, and such collaboration produced a result that matched their efforts Despite the origin of the voices appearing in the album, they all harmoniously blended together in creating a cohesive sonic and vocal palette to experience For all of its disparate sounds — R&B, pop, trap, UK soul, international hip-hop, even South African gqom33; often occurring in combination — the resulting fusion is exactly as intended Placing multiplicity above monolithic, Black Panther: The Album displayed unity through diversity (Carmichael & Madden, 2018) 32 33 Picture source: Google a genre of electronic dance music that emerged in the early 2010s from Durban, South Africa 37 b The integration of advanced technologies Besides expressing their respect and appreciation towards African identities through the aforementioned details from the movie, the producers, propelled by Afrofuturistic movement, also invented a fictional African country possessing the world-leading technology In fact, there are also some real-life inspirations for the advanced weapons and gadgets of the Wakandan First of all, the secret of Wakanda's unbeatable technological advancement lies in the fictional material exploited to create almost everything in the country – vibranium This isotope can hold more energy than any other substance, ―absorbing all vibrations in the vicinity as well as kinetic energy directed at it‖ ("Wakandan Technology Today: A CIA Scientist Explores the Possibilities", 2018) For example, wearing the Black Panther suit, T‘Challa can be hit without causing any injuries since the cover absorbs all the energies to release later Another superior gadget that runs on vibranium are the Kimoyo beads It is an updated version of the real-life smartphones or tablets as it provides 3D images while the other devices only have capacitive touch interfaces There are also Prime Bead, which is given to each Wakandan at birth to provide them with personal medical knowledge and health data Nowadays, we are also exposed to a wide range of healthcheck applications thanks to the technological progress in the medical field Last but not least, the holograms covering most of the interfaces in Shuri‘s lab is also the modern technology that has been around for a few years Microsoft has been investing in some hologram products, including Holoporation that allows users to project a full-body figure to a remote location Unfortunately, this product is years – away from being sold commercially, let alone being embedded in bracelets and other accessories like what presented in the movie 38 34 What can be drawn from some examinations of the Wakanda fictional technologies is that the futuristic elements of Afrofuturism not necessarily mean things of the future that are yet to come Such visional innovations can stem from real inspirations c The 21st-century Afrofuturistic concerns Although the fictional nation of Wakanda and the real 21st-century struggles facing African countries contrast in many ways, investigating the extending consequences of neo-colonial forces, fiction meets reality in relation to political assassination Afrofuturism as escapism The satisfying feeling moviegoers get up to the watching of Black Panther is due to, but not limited to, the producers‘ depiction of a mighty black nation standing at the top of the technological advancement Nevertheless, what‘s of greater importance is the film‘s offer of an escape place for the black community This idea was represented by the influential Afrofuturistics of the 20th century such as Octavia Butler or Sun Ra All social unequal treatments towards the black will no longer be a problem in Wakanda The chances for problems like of black youth being shot by 34 Picture source: Google 39 police35 and its unfair court verdicts36, or the authority‘s disregard of the black citizens‘ voice during their public protest37 to happen are low as every black human being is fairly treated in Wakanda Afrofuturism offers a reprieve from the real world, and Black Panther could be the most mainstream, biggest-budget example of it yet (Harding, 2017) Escape from existing stereotypes Humanity has been exposing to a Westernized narrative of the black community for years With the introduction of Black Panther, the black people and black culture have escaped from all stereotypical representations that have been around for centuries To specify the central and common depiction of Afrofuturism, the director best states “I think that views of Africa and African culture, almost as a direct result of colonization, are oftentimes very limited in terms of time It‟s explored only in certain chunks of time And I think, because the continent of Africa and humanity on that continent is so old, you know, that that‟s a horrible disservice to the people that come from those cultures.” As a result, he considers the practice of Afrofuturism in the movie a response to such notion Instead of staring at the unpleasant features, he desires to bridge the cultural aspects of the ancient African traditions with the potentials of the future (Cooger, n.d.) Not only did Wakanda have a past free of colonization and enslavement, but the Wakanda of the present is also a wealthy nation with leading technological advancement The Wakandan manage to apply their knowledge and ingenuity to exploit the vibranium resource, developing futuristic technological gadgets outstripping the rest of the world Instead of depicting the continent of Africa focusing on only war and poverty, Black Panther producers desired to give the viewers another perspective in which the African country was so advanced that globalization was considered a threat to their safety Indeed, being exposed to a brand-new portrayal of 35 36 https://mic.com/articles/180263/charleena-lyles-was-shot-dead-by-seattle-police-after-dialing-911-for-help#.fp49KH3dz https://mic.com/articles/184472/st-louis-police-officer-found-not-guilty-for-the-fatal-shooting-of-anthony-lamar-smith#.MrQdUOBWU 37 https://mic.com/articles/185073/mike-pences-nfl-walkout-perfectly-distills-his-views-on-racism-and-black-civil-rightsprotest#.d4wVLtATy 40 Africa and its cultures, compared to the ways they tend to be depicted in mainstream media, people are much more rejuvenated Relations to real African situations Unlike most Marvel films, real-world circumstances and struggles exist in Black Panther This may due to the Afrofuturistic ideas that the producers team try to integrate into this motion picture The beginning of the movie sets in Oakland, California, where a group of black boys are playing in a playground One of them is a Wakandan descent, Killmonger, that has been brought up without acknowledging the existence of his mighty country Struggling through many hardships and discriminations, he develops his burning hatred for the Western colonialist societies Unlike T‘Challa, he aims to introduce Wakanda to the world by declaring wars against other countries to show off their strengths and advancement Even though his methods are against the right, his initial intention is, to a certain extent, understandable In Black Panther, the media‘s portrayal of the Wakanda Kingdom is similar to that of any developing African country in the real world: subsistence agriculture, extreme poverty, and traditional tribal clothes Nonetheless, what makes Wakanda unique is it refusal towards every support made by the international organizations and countries Why the world cannot explain the country‘s reluctance to globalization is due to the kingdom‘s use of advanced vibranium-infused technology to hide its true power from the outside world Wakanda is economically self-sufficient, and isolates itself from the rest of the world to avoid the influence of international trade instabilities We can notice the similarity between such political action of Wakandan authorities and Zambian copper crisis As a part of their extractive colonialism, Zambia‘s economy inextricably connected to the international market Subsequently, when the world copper prices in 2015 plummeted, Zambia faced a severe economic crisis (Murray, 2018) Moreover, Wakanda possesses the most valuable resource on earth, Vibranium, which is drawn on to achieve its own technological breakthrough With such ultimate power in hand, the political movement of T‘Challa is declining the offer to open the 41 nation‘s border His concern is that if vibranium is known to the world, the worldwide political unrest will be unavoidable, hence negatively affecting his country This refers to the questionable situation of French military appearing in Niger‘s territory, considering the fact that 80 percent of France‘s energy is depending on African Uranium Another reference is the Democratic Republic of the Congo‘s situation Being the largest producer of Cobalt38 in the world, it has to witness the constant political unrest in the Katanga region caused by the battle between militias over the ownership of Cobalt mines (Murray, 2018) Feminism While T'Challa is the star of the show, the film also reflects the power of women in African societies, a major component of Afrofuturism Within the black community, black women‘s characteristics and importance are glorified in numerous aspects Firstly, Wakanda‘s royal guard is a female squad of highly-trained warriors, the Dora Milaje, led by the strong and brave general Okoye They are dressed in elaborate armor and are trained in martial arts and spear fighting The mighty in the brain of black women is illustrated through the character T'Challa's sister, Shuri She is, with no exaggeration, a technological genius who is credited for all advanced vibraninum technologies of Wakanda Another divine female character is Nakia, a highly skilled spy is often sent on missions around the world Witnessing the hardships experienced by many people, she grows the belief that Wakanda should actively help them by opening its border While T'Challa also has many male confidants, it is the women that risk their lives to support and help him fight his battle against Killmonger These depictions where women are respected and hold positions are reminiscent of specific instances in African history Two examples are Queen Mother Yaa Asantewaa‘s revolution in the 1901 Anglo-Ashanti War and African women military regiment operating in the 19th century (Murray, 2018) How Black Panther contributes to the development of Afrofuturism In the case of Black Panther, unlike any prior afrofuturistic work, we may infer that Afrofuturism can also be linguistic Wakanda has its own language systems, 38 a mineral used for telephone technologies 42 which is Xhosa – one of South Africa‘s official languages In an interview, Chadwick Boseman, playing the Black Panther, emphasized his efforts to create another accent, stating that he wanted to avoid using a British accent or a western-like accent Reasoning for this action, he said that using such accent might ―convey a white supremacist idea of what being educated is‖ (Murray, 2018) After colonization, many African countries took up French or English as their national language Accordingly, the promoting of a native African language and the demoting of English in Black Panther is a progress of the movie in its practicing of Afrofuturism 39 40 39 40 Picture source: Google Picture source: Google 43 Conclusion Investigating the history of Afrofuturism, this study has pointed out the transformation and development of this cultural aesthetic throughout 60 years Though the first artistic form conveying the idea of Afrofuturism was music, the movement has extended its influence to other varieties namely written works (novel, poem, etc.), movies, exhibitions, etc Besides the extensions in conveying methods, the definition, together with the characteristics, of Afrofuturism has also been adopted and adjusted over time Transforming from an aesthetic centering on the traditions and future of only a part of the black race – the diasporic community – in the 20th century, Afrofuturism 2.0 of the 21st-century values the Pan-African movement and broadens its concern to the other parts of the black society Despite such revolution, there are certain core traits of the phenomenon that have been preserved: (1) the featuring of the black culture; (2) the integration of advanced technology; (3) the vision of the African‘s future Through an in-depth analysis of Black Panther, the study will provide a closer look into how Afrofuturistic ideology is embedded in the movie With such demonstration, the study is expected to be the first academic paper to investigate the flourishing progress of Afrofuturism, from its birth to 2018, and scrutinize its influence in one of the most famous and influential movies of 2018 – Black Panther On the other hand, there exist certain restrictions that this paper has yet been able to overcome First of all, since there have been countless afrofuturistic masterpieces of different types created in the past 70 years, it is impossible for the study to generate every iconic representative of different types within one decade Moreover, managing to prove how Black Panther successfully delivered the afrofuturistic ideas, the paper has yet pointed out the film‘s additional contributions to the development of Afrofuturism besides the language field Considering the shortcomings of the research, there are some promising research approaches that can be conducted to overcome such weakness The first suggestion for following studies of the same topic is that researchers may investigate the differences in the portrayal of Afrofuturism between the comic and big-screen version of Black Panther Since the movie is a remake of a long comic series, numerous adaptations have been obviously made Therefore, if the differences 44 between the two versions are examined, in-depth knowledge about the authors‘ perceptions of the phenomenon can be explored In that case, Afrofuturism and its related works may be better comprehended Another idea to consider is digging dipper into the part where this study is incompetent – the contributions or innovations Black Panther have made to the former notion of Afrofuturism 45 Appendix The five dimensions of Afrofuturism 2.0 The first Afrofuturist dimension of metaphysics includes and engages ontology or the meaning of relations between the ontological and epistemological or the truth-functional aspects of knowledge, cosmogony or origin of the universe, cosmology or structure of the universe, an example of this are naturalistic AfroDiaspora traditions, Rational Panpsychism (or Ammism) and indigenous African spiritual practices such as Okuyi or Dagon cosmology 111 West Africa and or Ifa in Nigeria to name a few, and the works of W E B Du Bois, John MbJti, Kamau Brathwaute, Kwasi Wiredu, Yvonne P Chireau, Dwight Hopkins, and Albert Raboteau represent some of the scholars within this dimension The second Afrofuturist dimension of aesthetics includes anthropomorphic art, music, literature, and performance; examples in this sphere include the performers or artists like Sylvia Wyntert Sanford Biggers, Sun Ra- Henry Dumas, John Akomfrah, Afrika Bambatta, Juan Atkins, Derrick May, Kevin Saunderson, Jinni Hendrix, Janelle Monae and others The third dimension of Afrofuturism is in the areas of theoretical and applied science; for example, archaeology, math, physics, biology- astronomy: and applied areas such as computer science, architecture, engineering medicine and agriculture"; the creations of architect KiluanJi Kia Ilenda, the work of ethnoastronomer Jarita Holbrook or physicist James Gates and his work with West African Adlnkra Symbols, and Ron Eglash and his work in ethno-mathematics and African fractals is instructive in this area A fourth dimension of Afrofuturism is in the social science disciplines to include: sociology, anthropology, psychology, political science, history, and are represented by scholars such as kwame Nkrumaht Molefe Asante, James Stewart, Dorothy Roberts, C.TL Keto, Manmba Ani, Anna Everett, Alex Weheliye, Kali Tal and others A fifth and final dimension Of Afrofuturism is in the programmatic arena such as exhibitions, community organizations, online forums, and specialized salons or labs- the community work of Philadelphia Afrofuturist Affair founder Rasheedah 46 Phillips along with the recently organized Afrofutures UK (2015) salon organized at Mad Labs in Manchester, England, the Afrofuture festival (2015) organized by WORM in Rotterdam, Netherlands, and the Afrofuturist series (2015) organized by The Goethe Institute in Accra, Ghana, Johannesburg, South Africa and Nairobi, Kenya are especially noteworthy in this area 47 References Retrieved from 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NỘI TRƯỜNG ĐẠI HỌC NGOẠI NGỮ KHOA NGƠN NGỮ VÀ VĂN HỐ CÁC NƯỚC NĨI TIẾNG ANH KHOÁ LUẬN TỐT NGHIỆP THUYẾT VỊ LAI CHÂU PHI VÀ CÂU CHUYỆN VỀ BLACK PANTHER (2018) Giáo viên hướng dẫn : Đặng Ngọc Sinh,... catalyst for the future 22 The case – Black Panther How Black Panther brings Afrofuturism into the mainstream The compelling reason for the chosen of Black Panther, rather than any other artistic... (Coogler, 2018) The "Afro" in the Afrofuturism of Black Panther is not restricted to its being the first mainstream superhero film to feature a predominantly all -black cast, a black director, black