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Black Panther in a nouveaux peacock chair making deals with the CIA! I am like hold up?! Are you out of your mind? This must be a slapstick thrown in to distract and confuse the audience who do not know their history and who probably believe it’s OK to share secrets with the U.S. government. Like Okoyo, the CIA is all about meddling in international affairs that threaten white supremacy and its economic and military dominance. Wakanda has a seat in the U.N. Council.
Hollywood films should always come with a consumer health warning to people of African descent: “Beware of ‘The Ideology of the Aesthetic,’ as Terry Eagleton would put it.” With all the hype, “Black Panther: Long Live the King” falls under this manipulative ideological warfare genre and should have been subtitled, “Down With the King,” for subscribing to what Wole Soyinka would dismiss as the pseudo tradition of neo-Tarzanism.
The most revolutionary aspect of the film “Black Panther” is the mere fact that it showcases the beauty, history, relevance and capability of being simply Black and proud. I relate this strongly with the stigma many Black Americans have towards Africa, mainly visible in the lack of interest in visiting the vast continent of 54 countries. Moreover, the plague of insecurity that rests in Black people with their appearance and desire to look more European.
“Black Panther” follows T’Challa/Black Panther’s journey, in the aftermath of his father’s death, to lead his technologically advanced nation, Wakanda, which the world believes is impoverished. Featuring Black actors from the United States, England and various parts of Africa, “Black Panther” is the first Marvel film set in a Black-ruled nation. As such, the film challenges the negative stereotypes in which the world typically views African nations.
It is very important that you all clearly understand the depth of human torture to which I was subjected for 30-plus years by CDCr and CCPOA.* The torture was directed at me and similarly situated women and men prisoners held in California’s solitary confinement locations throughout CDCr, with the approval and sanctioning of California governors, CDCr secretaries and directors, attorneys general, along with the California Legislature for the past 40 years.
As the nation celebrates Martin Luther King Jr.’s 86th birthday, we are immersed in an intensive, often divisive conversation about race in America. Sixty years after King marched through the streets, as he did in Selma and cities throughout the South, we find ourselves still on the streets battling many of these same issues. My concern is that we are too narrowly focused. We need to make sure we battle this issue of race on all fronts.
I’ve finally seen “Selma” and can report it is a proper civil rights movie. By that I mean it takes few chances either thematically or aesthetically. The icons remain intact and the movement free from revisionist recriminations. This cautious strategy is understandable in a risk-averse Hollywood. Although boxed in by those kinds of commercial expectations, “Selma” delivers even more than it should.
“12 Years a Slave” affected me differently than Quentin Tarantino’s “Django,” which in its caricature style held me spellbound or suspended in a place of imaginative wonder – the Black man was going to win and get the girl too in the end. “Twelve Years” moved slowly and by the time Northup’s ordeal ends we are thankful yet exhausted. I saw the film alone. I think it’s the kind of journey one should invite a companion on.
I’m not sure which knife-point of ancestral trauma in the new movie “12 Years a Slave,” based on Solomon Northup’s autobiography, caused me to crumple into a paralyzed ball on the floor. I am not sure when I became unable to breathe or even see straight while watching the continuous acts of graphic genocide, racist hate, hegemony, brutality and oppression filter across the movie screen.