https://apple.news/AQ3xhqHW4QbaeYiN2LQwJrQ
The much-anticipated “Black Panther” has had undoubtably unprecedented success in many ways. This article demonstrates the many walls of what sorts of films audiences will support of late crumbling, such as the thoughts that a movie made with a mostly black cast will not revere, and certainly not to the extent to which studios need them to, due to the 6% decrease in cinema seats filled in 2017, a two decade low. Almost paradoxically, it is due to this drop in ticket sales that studios have resorted to targeting key audiences, such as the African American community, with films which feed an Afrocentric thirst that they previously refused to serve for the most part.
I think that this article expresses very well the shift in what appeals to audiences, especially in an inclusive sense, whose red-hot branding tool has threatened to barbecue an industry whose consumers have recently proven to salivate over said cookout. It also reads that with more inclusive casts, directors feel that they have more opportunity and a more appropriate purpose to address concepts such as racism and varieties in sexualities. I think that this article served well to not only praise the fruit and pride that Black Panther has cultivated, but also to see numbers in progressive topics which are relevant to its release and the films that its success will hopefully inspire. I would relate this to the Harlem Renaissance, seeing that Black Panther’s T’Challa’s native country Wakanda is Marvel’s illustration of a fantastical African country untainted by white imperialism and colonization. Wakanda and its amazing advancements are meant to illustrate black excellence and demonstrate a country untouched by the many incapacitations that white imperialists placed on the oppressed African countries, and that black excellence I relate to Marcus Harvey’s call for “Negro Nationalism” which surged in the 1920s.
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