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Resounding success of ‘Black Panther’ franchise says little about the dubious state of Black film

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Resounding success of ‘Black Panther’ franchise says little about the dubious state of Black film


When Marvel Studios released “Black Panther” in February 2018, it marked the first Marvel Cinematic Universe film to feature a Black superhero and star a predominantly Black cast.

Its estimated production budget was US$200 million, making it the first Black film – conventionally defined as a film that is directed by a Black director, features a Black cast, and focuses on some aspect of the Black experience – ever to receive that level of financial support.

As a scholar of media and Black popular culture, I was often asked to respond to the resounding success of that first “Black Panther” film, which had shattered expectations of its box office performance.

Would it lead to more big-budget Black films? Was its popularity an indication that the global marketplace – the real source of trepidation about the film’s potential – was finally ready to embrace Black-cast films?

With the release of the massively successfulBlack Panther: Wakanda Forever” in November 2022, I expect those questions to reemerge.

Yet as I review the cinematic landscape between the original and its sequel, I am inclined to restate the answer I gave back in 2018: Assumptions should not be made about the state of Black film based on the success of the “Black Panther” franchise.

Reason for optimism

Prior to its release, the producers of “Black Panther” faced questions about whether there was a market for a Black blockbuster film, even one ensconced in the Marvel Cinematic Universe.

After all, since the Wesley Snipes-led “Blade” trilogy, which came out in the late-1990s and early 2000s, Black superhero films had experienced diminishing returns. There was one notable exception: the commercially successful, though heavily panned “Hancock” (2008), starring Will Smith.

Wesley Snipes attends the premiere of ‘Blade 2’ in March 2002.
Vince Bucci/Getty Images

Otherwise, Black superhero films such as “Catwoman” (2004) and “Sleight” (2016) either flopped or had a limited release.

Furthermore, until “Black Panther,” no Black film exceeded a $100 million budget, the average benchmark for modern Hollywood blockbusters.

Nonetheless, despite these early concerns, “Black Panther” earned the highest domestic gross, $700 million, of all films released in 2018, while earning $1.3 billion in worldwide gross, second only to “Avengers: Infinity War.”

“Black Panther” emerged at the tail end of what many industry experts considered to be a surprisingly successful run of Black films, which included the biopic “Hidden Figures” (2016) and the raunchy comedy “Girls Trip” (2017). Despite their modest budgets, they earned over $100 million apiece at the box office – $235 million and $140 million, respectively.

However, both films were mostly reliant on the domestic box office, especially the R-rated “Girls Trip,” which was only released in a handful of foreign markets. Conventional wisdom has long held that Black films will fail abroad. International distributors and studios typically ignore them during the presale process or at film festivals and markets, reasoning that Black films are too culturally specific – not only in terms of their Blackness, but also their Americanness.

Films like “Black Panther” and the Oscar winning “Moonlight” (2016), which earned more on the international market than the domestic market, certainly challenged those assumptions. It has yet to upend them.

Black films after ‘Black Panther’

What do those Black films released in theaters in the nearly five years between “Black Panther” and “Black Panther: Wakanda Forever” tell us about the former’s impact?

The simple answer is that the original “Black Panther” has had no discernible influence on industry practices whatsoever.

Since 2018, no other Black blockbuster has emerged, save for the sequel itself. Granted, Black filmmaker Ava DuVernay’s remake of “A Wrinkle in Time” (2018) reportedly cost an estimated $100 million; however, while Black actors portrayed the protagonist and a few other characters, the film features a multicultural ensemble cast – which, as scholars such as Mary Beltran have pointed out, has become the primary strategy for achieving diversity in film.

Even if one were to include “A Wrinkle in Time,” the grand total of Black films with budgets exceeding $100 million is three, with the two “Black Panther” films being the others – all during an era in which there have been hundreds of mainstream films with budgets exceeding $100 million.

Otherwise, most of the Black films released in theaters between 2018 and 2022 typically were low budget by Hollywood standards – $3 million to $20 million in most cases – with only a handful, such as the 2021 Aretha Franklin biopic “Respect,” costing $50 million to 60 million.

Perhaps the most notable change has been the medium. Many Black films now appear on either cable networks that cater to a Black audience – namely Black Entertainment Television and, more recently, Lifetime – or on streaming services such as Netflix. Tyler Perry, the most popular and prolific Black filmmaker of the modern era, has released his latest films – “A Jazzman’s Blues” (2022), “A Madea Homecoming” (2022) and “A Fall from Grace” (2020) – directly to Netflix.

Furthermore, no other Black film has approached the financial success of “Black Panther.” Granted, several Black films have fared well at the box office, especially relative to their production costs. Foremost among them is Jordan Peele’s “Us” (2019), which cost an estimated $20 million, yet earned approximately $256 million worldwide despite its R rating and the fact that it was never released in China.

Whither Black film

Without question, large budgets and commercial success are not the only measures of a film’s value and significance.

As has historically been the case, Black film has managed to do more with less. The critical acclaim afforded to films such as “BlackKlansman” (2018), “If Beale Street Could Talk” (2019) and “King Richard” (2021) reflect this fact. All reflect trends in contemporary Black filmmaking – comedies, historical dramas and biopics abound, for instance – and were made for a fraction of the cost of both “Black Panther” films.

In truth, the zeal with which some cast “Black Panther” as a bellwether for Black films is part of continued haranguing over their viability, particularly after the #OscarsSoWhite movement that drew attention to the lack of diversity at the 2016 Academy Awards.

However, its positioning as a Disney property within Marvel’s transmedia storytelling effort makes it so atypical that its success — and that of its sequel — portends little about Black film.



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Eyes Wide Shut at 25: why Stanley Kubrick’s final film was also his greatest

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Eyes Wide Shut at 25: why Stanley Kubrick’s final film was also his greatest


Legendary filmmaker Stanley Kubrick spent a lifetime trying to make his final film, Eyes Wide Shut, a reality. He had been struggling to make it from the moment he began making feature films, some 75 years ago. When he finally did, 25 years ago in 1999, it killed him.

The plot centres on a physician (Tom Cruise) whose wife (Nicole Kidman) reveals that she had contemplated having an affair a year earlier. He becomes obsessed with having his own sexual encounter. When he discovers an underground sex group, he attends one of their masked orgies.

Having not made a film in 12 years since Full Metal Jacket in 1987, Eyes Wide Shut was hotly anticipated. Titillated by juicy rumours in the British tabloids, critics and fans who were expecting a steamy X-rated psychological thriller were inevitably disappointed. “Eyes Wide Shut turns out to be the dirtiest movie of 1958,” quipped one critic. Wait 12 years for anything and it won’t turn out to be quite so good as you imagined.

But where English speaking audiences panned it, the film was warmly received in Latin and Mediterranean countries. And in the long term, those audiences proved to be right and the film has grown in stature since. Not everyone might agree that, as Kubrick claimed, it was his best work but they certainly should see its merits today.

Kubrick adored the work of Arthur Schnitzler, the Austrian author of the 1926 text, Traumnovelle (translated into Dream Story in English), which became his source material. Once described as the greatest portrayer of adultery in German-language literature, Schnitzler wrote about themes of sex, marriage, betrayal and above all, jealousy. He even, it is rumoured, kept a diary of every orgasm he ever experienced.

Given that Kubrick discovered Traumnovelle in the early 1950s, it influenced almost every film he made. Consider the rapes in Fear and Desire (1952) and Killer’s Kiss (1955), the adultery and jealousy in The Killing (1956) and the attraction to younger women in Lolita (1962). Consider also the sexual violence in A Clockwork Orange (1971), the adultery in Barry Lyndon (1975), the marital troubles of The Shining (1980) and the toxic masculinity of Full Metal Jacket. They all culminated in Eyes Wide Shut.

This extends to the films Kubrick didn’t make too. The Freudian tale of Burning Secret written by Schnitzler’s contemporary, Stefan Zweig, that was abandoned in 1956 through to Napoleon, a figure that intrigued Kubrick partly because he had, in his own words, a sex life worthy of Arthur Schnitzler.

Eyes Wide Shut (1999) official trailer.

Kubrick returned to Eyes Wide Shut time and again during his career. But it took until the mid-1990s, when Kubrick was in his 60s, before he was able to execute it.

He struggled with adapting the source material. How does a director who spent his career putting big themes like nuclear war, the space race and Vietnam on the big screen put the tiny intimate moments of marriage on there?

His wife, Christiane, kept stopping him, telling him they were too young. Or maybe it was because Kubrick was legendary for his pre-production research, so only with four decades of marriage under his belt did he feel he really understood the topic.

By the time it was eventually made, Kubrick was in a poor state of health. Already a ponderous filmmaker, he was slowing up. The production was long, arduous and still holds the record for the longest continuous shoot in cinema history.

Stanley Kubrick photographed shortly before his death.
LANDMARK MEDIA/Alamy

When it finally wrapped on June 17 1998, he was exhausted. Eyes Wide Shut had been filmed over 294 days, spread over 579 calendar days, including 19 for re-shooting with actress Marie Richardson, totalling slightly over a year and seven months. And post-production would last for a further nine months, only brought to a halt by Kubrick’s death.

Not around to influence the marketing, the film suffered from a poor critical reception. The result was a disappointed audience, looking for salaciousness where none existed. That, in turn, influenced their response and the initial commercial failure of the film in the US.

Many US and British critics felt the film was too long, the acting was unconvincing, the New York sets looked fake, the ideas were weak and the eagerly anticipated orgy scene was ridiculous. They thought it was hermetic, too ordered and too closed off.

In the end, ironically, it was the highest grosser of any Kubrick film. It cost US$65 million (£40 million) to make with another US$30 million in publicity costs and eventually grossed US$162 million worldwide.

Influence

Similar to The Shining, Eyes Wide Shut became the source of any number
of conspiracy theories. It has even been seen as a warning to the predations of convicted US sex offenders, Harvey Weinstein and Jeffrey Epstein.

Now, it is regarded as a classic, maybe not Kubrick’s best film, but one with enough layers to reward repeated viewing. And its influence is felt in wider popular culture.

Consider the explicit reference in Jordan Peele’s 2017 film Get Out, a director much influenced by Kubrick’s style, when one character says: “You in some Eyes Wide Shut situation. Leave, motherfucker.”




Read more:
Stanley Kubrick redefined: recent research challenges myths to reveal the man behind the legend


Todd Field, who played Nick Nightingale in Eyes Wide Shut, showed a Kubrickian influence in the image making, pacing and almost dreamlike atmosphere of the film Tár which he directed in 2022. Jonathan Glazer’s Birth (2004) owes a huge debt to Eyes Wide Shut also.

In the final analysis, anyone who refuses to engage with Eyes Wide Shut is refusing to understand Kubrick as a filmmaker. He wanted to make it at the very point he began making feature films. It lurks behind every film he made.



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A brief history of found footage video art – and where Macklemore’s Hind’s Hall fits in

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A brief history of found footage video art – and where Macklemore’s Hind’s Hall fits in


Twenty-four hours after the release of Macklemore’s pro-Palestine protest song Hind’s Hall on social media on May 7, the video had already notched up over 24 million views.

In two minutes and 49 seconds, the music video uses found footage gleaned from social media feeds intercut with the songs lyrics in white text on a black background.

Much of the footage is of pro-Palestine encampments unfolding on the grounds of US universities. We also see images of popular Palestinian journalists Bisan Owed, Motaz Azaiza and Wael Al Dahdouh, footage from the Israeli bombing in Gaza, and older footage, such as N.W.A.’s Fuk Da Police (1988).

Much of the imagery is illustrative of the lyrics and polemic in messaging.

This use of found, gleaned and archival footage is a continuation of a long tradition in video art where artists have used existing footage to comment on and amplify social, political and environmental issues.

What is found footage?

Found footage filmmaking is a strategy used by artists and filmmakers who take audiovisual material from its original source and re-contextualise it.

Removed from its original context, this footage allows the artists to create new associations and critical perspectives on the material, culture and circulation of meaning. This process is also called remediation.

Prior to the proliferation of digital media, found footage artists found inspiration in newsreels, films and archives. Tracey Moffat worked with editor Gary Hillberg from 1999–2017 in creating a series of films call Montages, which reflect on tropes in Hollywood films.

Christian Marclay’s The Clock (2010) was a 24-hour video installation compiled from hundreds of films with scenes of clocks, watches and other timepieces.

Adam Curtis’ feature films draw on the vast BBC archives, which meditate on politics, power and psychology.

The advent – and plethora – of user-generated content on social media has given rise to new possibilities for video content.

With an endless flow of images and information through social media scrolls, the question of how to interrogate this material underpins how video artists approach found footage today.

Amplifying truths – and misinformation

The launch of YouTube in 2005 brought the ability to participate in the creation and sharing en masse of self-made video content.

Artist Natalie Bookchin saw this outpouring and sharing of personal testimonies through vlogs as an opportunity to reflect on the the contemporary social, cultural and political landscape in the United States.

Editing these vlogs, Bookchin created choral-like multiscreen video installations. Bookchin’s 2009 work Testament, a three-chapter multi-screen video installation, meditates on the shared vulnerability, isolation and collective experience of prescription medication, job loss and sexual identity.

Surrounded by the multiple voices in the gallery, the individual voices become a collective outpouring, giving voice to feelings of doubt, shame, anger and resignation. The multitude of voices transform an individual experience into one that reflects the impact of social and political pressures.

Bookchin’s follow-up work, Now he’s out in public and everyone can see (2012), similarly uses YouTube vlogs – but this time focused on the perception of African American men as threats.

Originally an 18-screen installation, the video excerpts speculate and comment on incidents involving famous African American men. This creates a collective narrative where there is always contradiction and never a singular agreed-upon truth.

In doing so, this work comments on how social media circulates and reinforces rumours, stereotypes and misinformation.

Montage and juxtaposition

Political commentary can also be made through juxtaposing unexpected images and sound. Montage editing is a technique first used by Soviet-era filmmakers in the 1920s through which the “collision” of images creates a new meaning.

American artist and filmmaker Arthur Jafa uses this technique to great effect in Love is the Message and the Message is Death (2016).

In this eight-minute video, Jafa takes up the question of the representation of African Americans through the 20th century through montages of found footage from film, music video, sports broadcasts and vlogs to the soundtrack of Kanye West’s Ultralight Beam.

The video oscillates between the hopes, dreams and great creative and sporting successes of Black Americans, undercut by the pervasive threat of systemic violence and white supremacy.

Long sequences of music, dance and sporting prowess, backed by West’s melodic anthem, are suddenly replaced by sounds and images captured on a mobile phone.

This footage feels familiar whether we have seen it or not. A scene taken from inside a car of a Black woman being pulled over by the police crying out for her children sits between that of gospel singing and the civil rights movement, demanding us to question what progress has been made.

While Macklemore’s found footage practice might seem unsubtle, given his platform, that’s also the point. Accompanied by unambiguous lyrics, re-presenting these images to a broad audience aims for maximum impact in a screen environment where attention is in constant demand.

Found footage gives video artists strategies to challenge dominant ways of thinking and reflecting on socio-political issues. When we see footage we know from social media, the news or films, we are given the opportunity to bring disparate ideas together, and challenged to see the world anew.



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Making short films is a powerful way to learn job skills: 5 ways it prepares students for work

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Making short films is a powerful way to learn job skills: 5 ways it prepares students for work


The world of work is changing all the time. Technology is driving innovation and productivity, leading to the creation of new industries and employment opportunities. This means people need new skills to meet the demands of an ever-changing economy.

While universities can and do equip young people with important skills, tertiary education isn’t available to everyone. This is especially true in a country like South Africa, where about 43% of students in 2023 who qualified to pursue a bachelor’s qualification at university could not because of limited spaces.

Valuable knowledge and skills can also be acquired through non-formal and alternative pathways, however. We are education scholars who ran a pilot project using artistic media to teach important life skills to young adults (18–24 years old). Our project, Myturn, ran in South Africa’s Western Cape province over ten months in 2020. It used simple technology like smartphones and editing software to make short films.

Myturn benefited participants in several ways, as we’ve documented in a study. For instance, it honed their communication and teamwork skills. It bolstered their digital skills. It also allowed the students to connect with their communities. This connection, in turn, provided a platform for the communities to witness the participants’ willingness to learn and become change agents, while also allowing them to share their own stories and experiences.

The project showed how short films could be used to change the way people learn. This method meets many needs of young people by combining the learning of soft skills, computer literacy and artistic expression. It gets them ready for the problems of the future – not just ready for work, but also as socially involved people.

Five main benefits

Our research paper focused on the perceptions of nine (out of the initial group of 17) Myturn participants. All had completed secondary school. They were involved in various dance, drama, music and visual arts projects when recruited for Myturn and came from semi-rural communities in the Langeberg district of South Africa’s Western Cape province.

In 2020 they found themselves in a transitional phase between jobs, were preparing to enter the workforce for the first time, or were between school and tertiary education. They were also dealing with the effects of the pandemic, which began after we’d launched Myturn. This global crisis created difficulties but was also an opportunity for learning and adaptation.

During the project, participants learned the technology and skills needed to create and produce their own short films.

Our study identified five ways in which participants benefited from the project.

1. Improved emotional intelligence and soft skills:

Making short films helps build skills like leadership, teamwork and communication. It pushes young creators to figure out how to work together on complex tasks. This helps team members from different backgrounds understand and care about each other. People learn how to resolve disagreements, make their points clear, and inspire others to work towards a shared goal. These skills are necessary in any professional setting.

2. Improved digital skills and connectivity:

Participants learned how to use software programmes, handle digital content and interact with online groups. They were empowered to offer their skills globally and work remotely and flexibly.

3. Encouraged new ideas and creative ways to solve problems:

Making short films encourages people to try new things and to look at problems from different angles. This way of handling problems creatively makes one more flexible.

As a way to reach their artistic goals, participants learned to make changes and accept loss. This approach is in high demand across various sectors.

4. Supported personalised learning and finding out more about oneself:

Making a short film is a very personal process. It lets people explore themes that are important to them based on their own experiences, interests and goals. Personalising the way people learn reveals their skills, flaws and interests.

One participant, reflecting critically on her role as short film producer in the project, showcased her ownership of learning and the potential for transpersonal growth:

Being able to watch my video back before sending it made me realise how fast I speak and that (I) can come across as unclear, so I worked on speaking slower and I was satisfied with the final product.

Participants became more self-aware and confident. Young adults need help to figure out who they are and what they want to do with their lives.

One told us:

When the opportunity came I told myself it’s time to stretch myself and explore my skills.

5. Made the community more involved and gave people more power:

Making short films is a way to hear opinions that aren’t always heard. A participant said she enjoyed the chance her short film presented “to be able to comment or talk about the issues that everybody is most likely aware of but refuses to publicly speak/comment on”.




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Young film-makers can bring attention to problems that matter in their communities by sharing their stories. This can start a conversation and help bring people together. This involvement goes beyond the project. People can be inspired by hearing these stories, which can lead to a shared sense of power and a dedication to making things better.

What came next

In the time since the Myturn project, participants have flourished. One was selected for a six-month jewellery design research programme in Belgium. Three more have been accepted for tertiary education; others became involved in education as teaching assistants. One started a media house company with a colleague. Two participants created their own YouTube channels and another started making TikTok reels with her brother.

While the project itself couldn’t guarantee personal change within its informal setting, it did offer significant benefits for some participants: developing critical self-awareness, overcoming cultural and language barriers, and gaining a deeper understanding of themselves. This suggests that meaningful interactions, both in person and online, can equip young people with valuable skills. These skills, like critical thinking and empathy, will be crucial for navigating their future lives and careers.



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