ABSTRACT Black Panther (2018) is now one of the most popular Hollywood movies across the globe featuring a predominantly Black cast. Its success lies not only in economic value, but also in its ability to present universal concerns of power, pride, and humanity from global Black perspectives. In this essay, we analyze Black Panther through the lens of postcolonial cultural critique guided by Afrofuturism to examine how the movie misrepresents itself as a vehicle for unifying complex histories of continental Africans and African diasporic perspectives on Blackness, home, and belonging. We argue that Black Panther’s Afrofuturist unifying and codifying theme of Blackness, as transnationally shared intimate relations, while transformative, yields too much to Western neocolonial and cinematic fantasies about “Africa.” We conclude by stating that while Black Panther is a welcome shift from the dominant white Western gaze; it also deserves a critical reading as an ongoing and imperfect project of emancipation from the dominant gaze.

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（重新）想象非洲的未来：瓦坎达与跨国黑社会

摘要《黑豹》（2018年）现已成为全球最受欢迎的好莱坞电影之一，其中主要是黑人演员。它的成功不仅在于经济价值，还在于其从全球黑人的角度提出关于权力，自豪感和人性的普遍关切的能力。在本文中，我们通过以非洲未来主义为指导的后殖民文化批评的视角来分析《黑豹》，以研究电影如何歪曲自己的形象，以统一非洲大陆人的复杂历史和非洲人对黑人，家庭和归属的散居观点。我们认为，黑豹作为跨种族共享的亲密关系的黑人性的统一和编纂主题是黑人，尽管具有变革性，但对西方关于“非洲”的新殖民主义和电影幻想产生了太多影响。最后，我们指出，尽管“黑豹”是一种摆脱占主导地位的西方白人注视的可喜转变；作为一个正在进行的，不完善的，从主要注视中解放出来的计划，它也值得批评。