![]() ![]() ![]() In a cutting piece of commentary, both sides exemplify colonist mindsets, suggesting an inherent corruption in society the rulers want to keep what's theirs from who they deem lesser and Killmonger steals Wakanda's wealth for his own means. This debate is personified by the characters in the film: the deceased rulers of Wakanda have, since before the first Black Panther united the tribes, holed themselves away from the rest of the world out of a mixture of self-preservation and fear of what would happen with revealing the truth diametrically opposed is Killmonger, who - due to having grown up in the west - wants to take the war to them he sees the inherent strength of Wakanda and wants to bring down the colonists. Related: Marvel Didn't Always Have Black Panther's Character Rights This is a fundamental aspect of Afro-futurism, a design ethos that dominates the film, but in Black Panther is also used as a form of thought experiment if Africa existed uncolonized, how would it fit into the modern world? Would it hide away, attack or integrate? The vision of the country explicitly present in Black Panther is the idea of uncolonized Africa, of what could have been had the British (among others) not tried to claim the land for themselves, as well as the ignored powers of Africa. Not just for shock value or token lip service, though, this is essential scene-setting - it clears the deck, getting audiences of all backgrounds on the same, critical page and ready for a deeper-probing exploration.Ĭolonialism, or rather its absence, is ingrained into Wakanda. Traditionally, the western world struggles in even acknowledging colonialism due to its moral bankruptcy and still-present grounding to the modern day, but Black Panther doesn't mess around it confronts it - specifically the British pillaging and overall desecration of Africa - head-on in Killmonger's introduction, with Erik denouncing and reclaiming stolen artifacts from the British Museum.
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