ABSTRACT Marvel's Black Panther (2018) begins with a young N’Jadaka (aka Erik “Killmonger” Stevens) asking his father, Prince N’Jobu, to tell him the story of home. N’Jobu shares the origin story of Wakanda, a fictional African nation that is the most technologically advanced in the world. However, as the film progresses, a more complicated narrative of “home” emerges for N’Jadaka—a character who fluctuates between three identities: N’Jadaka, a Wakandan; Erik Stevens, a U.S. American; and Killmonger, a soldier and Navy SEAL. While multiple consciousness may characterize “home” for many Black U.S. Americans, the integration of a familiar account of the Black U.S. American experience into a fantastical, seemingly Afrofuturist text drives the cinematic storytelling of Black Panther into a compelling future-present. With its grueling attention to detail, Black Panther masters the telling of multiple stories, some imaginary and others not, in one sitting. Viewers are swept into an imagined future anchored by heroism, nationalism, and identity coupled with a gripping re-presentation of Black American malaise that gets at the heart of both Afrofuturistic and Hollywood storytelling traditions.

中文翻译：

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“告诉我家的故事”：非洲未来主义，埃里克·基蒙格和美国黑人不适

摘要漫威（Marvel）的《黑豹》（Black Panther）（2018）以年轻的纳贾达（N'Jadaka，又名埃里克·“杀人魔”史蒂文斯（Erik“ Killmonger” Stevens））开头，问他的父亲恩乔布王子（Prince N'Jobu）告诉他家的故事。N'Jobu分享了Wakanda的起源故事，Wakanda是一个虚拟的非洲国家，是世界上技术最先进的国家。但是，随着电影的进展，对N'Jadaka来说，“家”的叙事变得更加复杂。N'Jadaka是一个在三种身份之间波动的角色：瓦卡丹人N'Jadaka；美国美国人埃里克·史蒂文斯（Erik Stevens）；以及士兵和海军海豹突击队的基尔蒙格。尽管多种意识可能是许多美国黑人的“家”，但将美国黑人经验的熟悉叙述整合到一个奇幻的，似乎是黑人未来主义的文本中，则使《黑豹》的电影叙事成为一个引人入胜的未来表现。凭借对细节的苛刻关注，Black Panther可以一口气掌握多个故事的讲述过程，有些甚至是虚构的，而有些则没有。观众被英雄主义，民族主义和身份所锚定的想象中的未来，再加上黑人黑人的不适感的重新呈现，成为黑人未来主义和好莱坞讲故事传统的核心。