DISCOURSE ON BLACK PANTHER: THE GREATEST DECEPTIVE MOVIE OF ALL TIMES [EXCERPTS FROM A BOOK]
By Hardi Shahadu
In this treatise, I provide an analytical framework that brings out the true meaning and intention of the Black Panther movie in a historical context. I shall argue herein, using the movie as a source material and corroborating this with historical background, that this sensational movie, like all other Hollywood movies, is essentially a frame of reality towards an end desired by those who sponsor the ideas that made up the movie. And this desired end is to snatch from the Black Man again, the power expected to be bestowed on him and with which he can free himself and achieve the greatness he desires, using the black man himself as the primary tool in this snatching agenda.
A repetition of the immediate post colonial machinations (using African parasites to destroy true African leaders) and the scaling of the South African example (using the Black Man to legitimize apartheid colonial rule in the name of forgiveness and reconciliation) to continental and global levels.
The naivety of the ‘homeland Black African’, symbolized by the T’Chakas, Zuris, T’Challas
Nakias, Ramondas, Shuris, and the entire Wakandan army at the onset of the Wakandan
battle for kingship, makes him the greatest of prey and the easiest of all target in the White Man’s agenda to conquer, destroy, enslave, rule over and subjugate the Black Man, throughout history.
This is partly because his knowledge of the White Man and his agenda for the Non-White people of the world comes through mediation of history, diplomacy, the White man’s Aid, Grants and Charity and above all, his media. Hence, the homeland African is largely disabled and deprived from being able to understand the true nature of the White
Man and his agenda for the Non-White world.
The ‘Diasporian Black African’ on the other hand, is forced, through his lived experiences with, and in the society of the White Man, to see the naked truth about the nature of the White man and his agenda for the rest of the people of the world, especially the Black world. This diasporian African is symbolized by the Njobus, Njadakas, and the entire border tribe of Wakanda during the war over power at the tail end of the movie. The Diasporian
African witnesses first hand and personal experiences, the brutish nature of the White Man
and his agenda for the black man, and vows to resist this brutish white man agenda by all
means necessary and to withstand all the consequences.
This Diasporian African should not be confused with the parasitic (rather puppetic) African
of the diasporian stock who saw and still see the White man as a monster to be feared more than to be resisted. Hence, he has sought throughout history, every means to form parasitic alliance with the white man and to become the most potent tool for the white man’s agenda against himself and his own kind. That way, he gets invited to the white
man’s table and thrown a few crumbs that makes him seem better than his kind. Malcolm
X, in his autobiography, explains clearly how this diasporian type puppetic African originated. He started as the ‘house negro’ who liaised between the Black slaves and their White masters and evolved into the ‘integration-mad Uncle Tom’ Black American.
To Be Continued
About The Author Of The Upcoming Book Titled:
A MOVIE IN THE FRAMING OF REALITY: BLACK PANTHER IN AN APOCALYPTIC POWER-PLAY
Hardi Shahadu is a Ghanaian national with an uncompromising courage and determination to follow the Pan-African path laid down by Marcus Garvey, Kwame Nkrumah, Malcom X and Cheikh Anta Diop among others. He holds a Bachelor of Arts Degree in Political Science and Religion from the University of Ghana and Master of Science in Media, Communication and Development from the London School of Economic and Political Science (LSE).
