The Black Panther is arguably Marvel Comics» most
important black superhero, a king who's never been mired in the kinds of stereotype - heavy portrayals that have dogged other characters.
Not exact matches
The Afro - punk and Afrofuturism aesthetics, the unapologetic
black swagger, the miniscule appearances from non-
black characters — it's an
important resetting of a standard of what's possible around creating a mythology for a
black superhero.
Marvel's «
Black Panther» is another important step in that process, the first big - budget superhero pic to feature a mostly black
Black Panther» is another
important step in that process, the first big - budget
superhero pic to feature a mostly
black black cast.
What separates «
Black Panther» from the Batmans, Spidermans and Iron Mans of the creaky, big studio
superhero genre is that it looks and, more
important, feels nothing like the usual bloated franchise movie that takes no chances and plays by genre rules.
And the film counts as a major,
important victory for representation — not just as a rare, series - launching vehicle for a
black superhero, but also as a mega-budget Hollywood tentpole starring mostly
black actors, one that's explicitly about
black (and African) identity.
As the first
black superhero in mainstream American comics, Black Panther was massively impor
black superhero in mainstream American comics,
Black Panther was massively impor
Black Panther was massively
important.
Painted the year after his acclaimed Turner Prize exhibition, Chris Ofili's The Naked Soul of Captain Shit and the Legend of the
Black Stars is one of a number of
important works that features the artist's invented
superhero, including Double Captain Shit and the Legend of the
Black Stars, 1997 (Tate, London) and The Adoration of Captain Shit and the Legend of the
Black Stars (Third Version), 1998, (Carnegie Museum of Art, Pittsburgh).