Fluent Essays

This essay should follow those requirements:--Be sure to double-check MLA formatting, spacing, citation, italics, Works Cited page, etc. These are all things you have now had time to work through and therefore will be graded more seriously on the final. While I’ve mentioned it several times, the Purdue Owl site is a phenomenal resource and is eminently searchable. This is a good page to start on, and remember to check the formatting guidelines for the whole work as well as the Works Cited page (https://owl.purdue.edu/owl/research_and_citation/mla_style/mla_formatting_and_style_guide/mla_works_cited_page_basic_format.html)--Quotations are another element that you have had ample time and opportunity to work with. They will need to add something to your argument, be properly formatted, cited, quoted, etc. Additionally, parenthetical citations need to have clear referents in your argument. This will usually mean a direct quote or a specifically attributed summary, unless you are citing the entirety of an article.--Per the literature provided to help with writing development and revising, the thesis for your paper should be identifiable, focused, and not too broad. It should be an arguable position which can be analyzed and is not simply personal feeling or response. Be particularly cautious of theses which simply produce a list, as these are often a particularly tempting risk.It is evaluated as 33 percent plagiarism by plagiarism checker on studypool, make sure to look over every detail and change every possible plagiarism you find. By the end, the plagiarism rate on this paper should be LESS than 5 percent from studypool. And also change unproper grammar or mistake you found on this essay. wang_plagiarism_screengrab.png blackpanther.docx turnitin_whitepaper_plagiarismspectrum.pdf Unformatted Attachment Preview Last Name 1 Student’s Name Professor Course Date Black Panther and Contemporary United States Society Social and political changes based on US history have dramatically changed throughout history, and they continue to evolve after each generation. One of the ways to get a sense of the political and social standing of a nation and era is through the artistic creations that they produce and consume. In the heroes that are produced within a given context, for instance, one can see the ideological values that bear the most importance for the society and culture where they emerged. The superheroes that were produced in the United States, during the first big surge of this genre can be thus considered a reflection of the sociopolitical context in the mid-twentieth century. Their purpose, as much as it was to entertain young audiences, was also to promote the norms that were associated with being American. In these superhuman figures, one can see both the good – manifested in the form of a promulgation of liberty, freedom, and personal responsibility – and the bad – presented implicitly, in the negative characterization of minority characters, the invisibility given to certain societal problems, and the fostering of individualism. Now, as the sociopolitical paradigm of the nation continues to shift, the superhero genre has also seen some significant shifts. The problems of the first era of comic books began to be addressed, but it would not be until the twenty-first century that America would see the mass dissemination of superhero content that no longer abides by these confines. In films like “Black Panther”, for example, one can see the representation of the modern values of inclusivity, diversity, and equality. At the same time, though, the movie does not completely breach the hegemonic Last Name 2 ideology that governs the United States, but, rather, gives it a new and more progressive face to represent it. In its ups and downs, “Black Panther” takes two steps forward and one step back in its representation of the superhero character, allowing it to exist in a different idealized form, as long as it remains confined to certain political paradigms. In this paper, the characterization of the film’s protagonists and antagonists will be analyzed, highlighting the progressive and regressive details with which they were intentionally vested by their creators. Black Panther in Context First, it should be noted that “Black Panther” represents a breach with the American tradition of associating heroism with whiteness. Even amongst the new wave of culturally prompted revitalizations of the superhero genre in the twenty-first century, which adapted the stories of Marvel and DC Comics to the big screen, “Black Panther” is the first and only film that features a cast that is predominantly Black, including its main protagonists and antagonists. In the other films, Black participation was relegated to a minimum – if included, at all. Up until the film was released, the number of Black superheroes that were featured in these films was not only small but secondary. Characters like Nick Fury, despite being played by legendary actor Samuel L. Jackson, only has a limited participation in the other iterations of the Marvel Cinematic Universe, the franchise where “Black Panther” also belongs. Black women characters were even more unrepresented in the universe. As such, “Black Panther” must be appreciated for what it is, despite its flaws: the first, feature-length comic book film to not only feature a mostly Black cast, but to present these Black characters as well-rounded individuals that fell beyond the reach of stereotype. Furthermore, the movie also featured a combination of cultural items and values associated with some African nations, making its incorporation of Blackness even more transgressive than what one would traditionally expect from the genre. Last Name 3 The appearance of the superhero, Black Panther, emerges from a similar need to see positive black representation in mainstream media outlets in the United States. Just as the production of the 21st century variation of the film would bear great political importance now, The emergence of the Black Panther superhero can be traced back should a social political pushback that racial minorities in the United States began to demonstrate against the institutionalized white supremacy that reigned in the nation. In in some of the storylines that were featured in the comic, some of the most important demands of the civil rights movement would be incorporated into its characterization (Williams, 2018). At the same time, it demands of the black population prior to this movement, like the call for the abolition of slavery and its longreaching tentacles, would also be incorporated into the character and its universe (Williams, 2018). In equal form, the Black Panther movie of 2018, incorporates the contemporary demands for racial justice. Because of the very nature of the protagonist of this series -- a man who exists in a paradoxical position: superhuman in his abilities, yet subhuman in society’s eyes -- it becomes difficult not to incorporate these political talking points into the stories. Doing so would be to ignore the racial dynamics in the United States, and most of the world, as well. While it is not unforeseen for comics to take this approach, it is harder to make a political figure seem realistic when they are part of a persecuted minority. In other words, for Black Panther to be a successful black superhero, it was necessary for him to embody – to an extent -- the realities of the average black person, and this reality included being faced with an ideological system that condemns their existence. as such, Black Panther is a figure that was born to be political. Yet, despite this nature, the “Black Panther” film almost succeeds at removing any overt hint of politization from the characters that they present, resulting in a film that responds only to the bear minimum expectations of the current zeitgeist. Last Name 4 Black Panther and Dismantling of Fiction One characteristic of postmodernist narratives is the dismantling of the symbolic fictions that individuals tie to their identity, and which are connected to the ideological system -- the big other and its mechanisms -- that births them (Seas, 2012). These fictions allow individuals a progression, an established guideline of what is and what is not, based on their ability to fit into one of the constrained identity groups that the dominant ideology represents as natural, unmoving entities. They can take different forms. They can, for one, prescribe the actions and behaviors of those who ascribe to the superhero identity. They can, too, prescribe the attitudes and behaviors of those who ascribe to the Westerner identity, in a real-life example. In Black Panther’s presentation of minority groups – African nations, African women, and Black people as a whole – there is a notable disruption from the normative fictions that are part of mainstream society. Instead, one that is antagonistic to it is presented in the characterization of most of its characters, even its antagonists. Regarding the presentation of the African nation, the narrative presented by the film subverts most racist narratives about the region. Where mainstream depictions of the African continent tend to focus on highlighting the suffering and inefficiency of the region, “Black Panther” presents an alternate version that is characterized with excellency. Not only is the protagonist’s home, Wakanda, absolutely beautiful, it is economically thriving, technologically ahead of every other nation, and internally at peace. It is the direct opposite of what white supremacy represents Africa to be, which, in turn, reflex but whites are promising represents black individuals to be. this characterization is important for this particular ideological fiction because it reinforces the perceived superiority of white individuals over black individuals. Without the images that validate the notion that a black population left unsupervised is bound to dissolve into Last Name 5 chaos, the opposition of black liberation would be harder to materialize. For a social order, those images are as important as the racist policies that a state could enforce in the perpetuation of myths of black inferiority. that a mainstream media film departs completely and radically from these notions, presenting a black state not only is equal but superior to western models of political rule. While it is undeniable that such representation is certainly beneficial, as it ruptures with racist imaginaries, there are some downsides to its representation in the film. For starters, unlike the first iterations of “Black Panther” comics, which posited that black excellence could be achieved through work, perseverance, and wisdom (Williams, 2018), Wakanda is our nation that thrives only due to a geographic accident. As it is explained in the film, Wakanda grows in great size and prosperity, because the nation is built upon a massive reserve of a rare metal, brought in by a meteorite, called vibranium. If it were not for the existence of this mineral underneath the country of Wakanda, even Black Panther would not have the superhuman abilities that make him a superhero. Another issue that arises in this vision of a Black nation, is the absolute isolation that the country sees. In the film, this is explained as a result of a desire to protect the vibranium, mainly, to stop it from falling into the wrong uses (“Black Panther”, 2017). In doing so, the state of Wakanda appears to take on the narrative of the protector for themselves. This is a narrative that is common in colonialist and white supremacist discourse, only it is usually white civilization that is characterized as being the protector of the other racial groups. Specifically, that without the controlling of the impulses of Black men, they would be unrestrained in their destruction of themselves and others (Nama, 2009). Wakanda’s case is not one motivated by race, as it decides to take on the role of absolute protector. But, in taking this paternalistic stance towards the rest of humanity, they are only actively limiting the intellectual pursuits of others, placing knowledge behind bars, and turning to drastic inaction from a position of privilege. As in nations of the Marvel Last Name 6 cinematic universe are meant to exist in parallel with the real world, one can only help but wonder, if Wakanda is meant to act as a protector, why is it only pushed into marginal action by the end of the film, rather than aiding those who have been historically attempting to escape undue oppression in some form. As with mainstream oppressive dynamics, it appears that Wakanda’s concept of protection is tied to restriction. The representation of women in the film is also both exquisitely transgressive of patriarchal fictions, while also being implicitly in support of others. Just as the current zeitgeist calls for a greater inclusion of non-stereotypical black men, who are in equal standing to their white counterparts, so does it call for similar representation of women. For decades now, women have argued that they had equal rights to those of men (Cocca, 217). yet, as we black superheroes comma the representation of women in these roles has been far from ideal. aware of the poor track record that the comic books genre has had towards women, Black Panther subvert most of the patriarchal expectations in its main women characters. Most notably, though, are two figures: Okoye and Nakia. They still women characters break away from the passive roles that are usually given to women, each one granted a specific set of skills that are usually only awarded to male characters. Okoye, a general, is an expert in hand to hand combat and personal defense, what are the most important security details for the King. Nakia, also an action agent, is a skilled spy that is seen being retrieved for a mission at the start of the film. the two women represented as equals to the men around them father even better in some regards, without forcing them to act in a way that the male variation of this figures usually acts. In Okoye there is no bravado, while there certainly is bravery. Though Nakia is a love interest, she is neither aloof nor obsessed, as it is not the only aspect of its characterization. Last Name 7 As for the representation of Black individuals, whether hero or villain, they are both threated with nuance and respect. the religious practices in the nation of Wakanda are presented without much sensationalism, stereotypes about black individuals are avoided throughout most of the film, and the word narratives of racist thought are kept away for the majority of the movie. There is, instead, only the exaltation of excellence, and this is best exemplified within the role of T’Challa. As prince of the nation, T’Challa is an example of the achievements of black populations that are allowed to exploit the natural resources of their regions on their own and for their self-development, who do not see interferences in their forms of government, and who do not have to endure the different damages caused by institutionalized racism. Instead, he, like the other citizens of Wakanda, is fully capable of exercising his rights to equality and freedom from oppression. Like the world that the Black Panthers dreamt of – the political organization in the United States that found representation in the figure of this animal – Wakanda exists in an idyllic scenario, where truly equal relationships can be developed. Perhaps unintendedly, Black Panther showcases the connection between the different forms of oppression that exist in Western society – sexism, ageism, racism, etc -- in the perpetration of an equal systems. Without one of these, the foundations of the others become difficult to sustain, as well (Cocca, 2012). likewise, without the structural ills that currently affect vulnerable populations in the real world, have them any problems that affect human life would be far more scarce. crime, violence, unending exploitation of resources -- these are all elements that disappear when individuals are giving an equal opportunity to thrive. in the Royal family this is a key aspect of the children, T’Challa and his sister. One who excels in his role as a leader, and the other in her role as a scientist and intellectual. Both are occupying positions that have been systemically denied from black individuals, and which also contradict the racist fictions that are propped up by White Last Name 8 Supremacy. Black men are separated from their perception as savages (Nama, 2009), and Black women from their perception as servants. Even a character like Killmonger, who serves as an antagonist, is represented as its own twisted variation of this concept of Black excellence. Black Panther and Killmonger: Two Different Approaches at Liberation For superheroes, antagonists are incredibly important. traditionally depicted as the foil to the superhero, embodying a mixture of a superhuman quality and a superhuman malice, the antagonist’s role is to reinforce the goodness of the superhero. in this type of representations, superheroes are created against two diametrically opposed moral alignments (Seas, 2012). On the side of the superhero, there is moral goodness, characterized by the possession of the moral values that are better received at a given time and place. Villains, on the other hand, represent a moral corruption, and they showcase the negative perceptions of the culture. In unequal societies, it is not uncommon for the villain to also feature characteristics of individuals that are associated with moral corruption, including appearance, skin color, or body weight. in Black Panther, as in postmodernist takes on superhero films, these lines are not as easily identified, though. On the contrary, if it were not for the most overt decisions made by the director, these lines would remain blurred throughout most of the film. Killmonger, despite being presented as the villain of the nation, is giving a far more sympathetic background than the main character. He lost his father when he was rather young, grew up exposed to the hostility and violence of racism, and became aware of the history of the western world and its colonies. For him, the concept of black liberation its not different to that a black abolitionist, who did not just take an anti-slavery position as a result of some moral exercise but a pertinent need for their survival. Killmonger lives the brutalities of that system and the different forms that it can take, and, thus, thinks that the best way to proceed is the one that Last Name 9 would guarantee the most immediate result. Using the technology that has been developed with Wakanda, he will be capable of coursing States and institutions into dismantling the structures that they have erected to perpetuate the inferiority of groups of individuals. He could also ensure that the modern variations of slavery, segregation, and lynching, which were as prevalent in his world as in the real-life America’s, are no longer capable of being used against an innocent person. T’Challa’s strategy, made explicit at the end of the film, of starting a charitable program to help vulnerable black individuals in the United States, makes sense the most when one is standing from a position of separation. While killmonger’s Intended actions are far from positive -- words rarely tend to bring much benefit to the average person -- the motives behind it are certainly sympathetic. Contrary to most villains, he is acting out of a sense of communal preoccupation and – almost – selflessness. Like T’Challa, He decides to take the throne of Wakanda out of a sense of obligation, rather than thirst for power. T’Challa once the throne to ensure that the balance remains unchanged within his nation, his loved ones and fellow citizen safe, and the technology well-protected. He said to bring improvements for the greater good by fulfilling this duty, just like Killmonger does. His duty, though, is not towards the maintenance of a technological balance, what are the equalization traditions black and other racial minorities in the white dominated western world. He is using his royal blood to obtain the resources have good he needs to help him in his plan of liberation. With the both of them given greater ideological motivations that have serious overlap between them, what, then, makes one a villain and a superhero? Killmonger’s methods might be violent, but the approach that Wakanda has maintained and will continue to maintain is ineffective. in the end, both ways of getting to a future of global equality will involve the active or passive killing of others. Casualties cannot be escaped though, Last Name 10 so presenting one of these models as more benevolent than the other -- as the film implies – would be flawed. The only notable difference between these two characters is the haphazard decision to make Killmonger an unnecessarily violent character, killing his girlfriend in cold blood simply to make a point about how bad he really is (Coogler, 2018). there is no further evidence of such behavior in the characters ideals or actions, but a simple way to separate good from evil, abolishing the importance of the nuances that are later set in the film. To reinforce the values of the current system, the character is forced to act as a caricature even when it does not fit. In this return to the popular comic book dichotomies, T’Challa’s façade as a true representative of radical transgression falls apart. While the film, “Black Panther”, contains breakthrough elements, considering the current sociocultural context, at its core, there ... Purchase answer to see full attachment