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Increased representation of ethnic minorities in comics. Represented in a Westernise tone about 'the Orient' https://en.wikipedia.org/wiki/Dust_(comics)

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https://en.wikipedia.org/wiki/Daughters_of_the_Dragon

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The black pirate (minor character from "The Adventures of Asterix" 

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The black pirate (minor character from "The Adventures of Asterix" 

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https://www.nytimes.com/2012/06/17/magazine/how-to-read-a-racist-book-to-your-kids.html

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A Kenyan princess on her mother’s side and mutant in the universe

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https://marvel.fandom.com/wiki/Eric_Brooks_(Earth-616)?file=Eric_Brooks_%28Earth-616%29_from_Avengers_Vol_8_12_001.jpg

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Attention to the initial narrative about Wakanda - find colonial discourse within the presentation.

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Marvel Knights Animation - Black Panther - Episode 2

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Do you think stereotypes in comics leak over into Hollywood?

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Do you think stereotypes in comics leak over into Hollywood?

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I believe that comic book fans are die hard and any deviation from the norms of the comics would provoke backlash. There is a lot of money in the fandom, and ideologies of the past (old comics) are still reminiscent in today's films and comics.

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Palestine is a non fiction graphic novel based on Joe Sacco’s experience in the country during 1991 to 1992. I thought it was an interesting example because it represents the contradictions in the situation there in a way that is hard to describe with words.

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Palestine is a non-fiction graphic novel written and drawn by Joe Sacco about his experiences in the West Bank and the Gaza Strip in December 1991 and January 1992. Sacco's portrayal of the situation emphasizes the history and plight of the Palestinian people, as a group and as individuals.

The complete graphic novel, published in 2001 by Fantagraphics Books,[1] collects nine issues of Sacco's Palestine comic book, published by Fantagraphics from 1993 to 1995; the single volume edition includes an introduction by Edward Said. In 1996, Fantagraphics had released a two-part collection of the series - Palestine, a Nation Occupied (collecting Palestine #1-5) and Palestine: In the Gaza Strip (collecting issues #6-9).[2] An expanded edition was released in 2007.

The book takes place over a two-month period in late 1991 / early 1992, with occasional flashbacks to the expulsion of the Arabs, the beginning of the Intifada, the Gulf War and other events in the more immediate past. Sacco spent this time meeting with Palestinians in the West Bank and Gaza Strip and the narrative focuses on the minute details of everyday life in these area.

In Palestine Sacco positions himself knowingly as the westerner going to the Middle East to confront a reality unfamiliar to his American audience. Sacco does not delude himself that as a "neutral" observer he can remain invisible and have no effect on the events around him, instead accepting his role and concentrating on his personal experience of the situation. Though his goal is to document events and interview Palestinians he is affected by the reality of the occupied territories and cannot help but participate in, and comment on, demonstrations, funerals, roadblocks and encounters with soldiers. Towards the end he becomes even more active as he shares food and lodgings with the Palestinians he interviews and even breaks curfew with them while in the Gaza Strip.

In the book Sacco references Joseph Conrad's Under Western Eyes, Heart of Darkness, and Edward Said's Orientalism to draw links between the situation he is witnessing and colonialism. Towards the end of the book, when challenged by an Israeli that he hasn't experienced their point of view, he responds that the Israeli point of view is what he has internalized his whole life, and although another trip would be necessary to fully experience Israel, that was not why he was there.[3]

Gadassik, Alla and Sarah Henstra. "Comics (as) Journalism: Teaching Joe Sacco's Palestine to Media Students," in Teaching Comics and Graphic Narratives (Jefferson, N.C.: McFarland & Company, 2012), pp. 243-259.

Stack, Frank. "Pilgrimage: Palestine #1-5," The Comics Journal #166 (Feb. 1994), pp. 51-53.

Woo, Benjamin. "Reconsidering Comics Journalism : Information and Experience in Joe Sacco's Palestine," The Rise and Reason of Comics and Graphic Literature (Jefferson, NC: McFarland & Co., 2010), pp. 166-177.

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Palestine is a non-fiction graphic novel written and drawn by Joe Sacco about his experiences in the West Bank and the Gaza Strip in December 1991 and January 1992. Sacco's portrayal of the situation emphasizes the history and plight of the Palestinian people, as a group and as individuals.

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Marcelo D'Salete is a Brazilian comics artist, whose main works address the issue of Afro-descendants in Brazil. He is one of the most prominent Afro-Brazilian artists to specifically treat this issue in comics.

D'Salete was born in São Bernardo do Campo in 1979, and graduated in Plastic Arts from the University of São Paulo (USP). He began working as an illustrator in 1997. He had been interested in comics since he was four years old. Some of his main influences are Alberto Breccia and Flavio Colin, especially for the way they both work with black and white in their comics. In 2001 he published his first comics in Brazilian independent magazines like Quadreca and Front, while also illustrating children's books.

In 2008, he released his first graphic novel, 'Noite Luz', through Via Lettera. It was followed by 'Encruzilhada' (LeYa, 2011), 'Cumbe' (Veneta, 2014) and 'Angola Janga' (Veneta, 2017). All works deal with the history of the Afro-descendant population in Brazil. Brazil was the last country in the Americas to abolish slavery (in 1888). Today, despite having the largest black population of any non-African country in the world, the vast majority of Afro-descendants lives in poverty and suffers from racism. D'Salete's comics were therefore interesting, as few books, particularly comics, have addressed the history and issues of the Afro-descendant population in Brazil from their point of view. This is especially astonishing considering the fact that a large part of Brazilian culture had a direct influence from African culture (mainly in the Brazilian Northeast).

D'Salete's graphic novels all share a long creation period, especially those with historical themes. It took the artist for instance 11 years of research and development to create 'Angola Janga'. The book talks about Quilombo dos Palmares (a fugitive community of escaped slaves in colonial Brazil that existed from 1605 to 1694). 'Cumbe', his graphic novel about slavery in 19th century Brazil, was published in the United States by Fantagraphics under the title 'Run For It' (2017). In 2018 it won the Eisner Awards of Best U.S. Edition of International Material.

www.dsalete.art.br

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Marcelo D'Salete is a Brazilian comics artist, whose main works address the issue of Afro-descendants in Brazil. He is one of the most prominent Afro-Brazilian artists to specifically treat this issue in comics. D'Salete was born in São Bernardo do Campo in 1979, and graduated in Plastic Arts from the University of São Paulo (USP).

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Different narratives of Blackness in comic books

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Different narratives of Blackness in comic books

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Eisner Award-winning cartoonist Marcelo D'Salete boldly recreates a long-overlooked history of black resistance against oppression.

Founded in late sixteenth-century Brazil, Angola Janga was a beacon of freedom. For over a hundred years, this community of runaway slaves thrived in fierce opposition to the Dutch and Portuguese colonial powers. In the stunning follow-up to his critically acclaimed graphic novel debut, Run for It, D'Salete brings the history of this precarious kingdom to life-the painful stories of fugitives, the brutal raids by colonial forces, and the tense power struggles among its inhabitants.

At turns empowering and heartbreaking, Angola Janga is a stark reminder that the fight for justice is an eternal battle.

Press Highlights:

"A magnificent history of resistance." - Publishers Weekly

"An awe-inspiring history ... masterfully drawn." -

"The energy of D'Salete's images-the angled perspectives, the chiseled details, the abrupt close-ups, the streaked strokes of his shading-are a match for his equally powerful subject matter." - PopMatters

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Eisner Award-winning cartoonist Marcelo D'Salete boldly recreates a long-overlooked history of black resistance against oppression Founded in late sixteenth-century Brazil Angola Janga was a beacon of freedom For over a hundred years this community of runaway slaves thrived in fierce

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Killmonger Death Scene - Black Panther (2018) Movie Clip 4K

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Singer, M. 2002. "Black Skins" and White Masks: Comic Books and the Secret of Race, African American Review, Vol. 36, No. 1, pp. 107-119

comic book writers adopting racial stereotypes
contributing to normalise standard of race
white is the synonym of beauty and superiority
Double consciousness - complexity of race (seeing yourself on the eyes of the others)
split personality to portray race (exotic and the hero)
Fabricated identities

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The Future

in Black Panther 2099 (2004) #1

Doctor Doom of Latveria is determined to take Wakanda; an invasion is imminent. So, where is the Black Panther?

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"The potential for superficiality and stereotyping here is dangerously high. Yet in recent years, some comics creators have demonstrated that the superhero genre's own conventions can invite a more nuanced depiction of minority identity. Race in contemporary comics proves to be anything but simplistic. If some titles reveal deceptively soothing stereotypes lurking behind their veneers of diversity, then others show com plex considerations of identity"

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Black Lightning Goes After Lala | Black Lightning 1x02 | Lawanda: The Book of Hope

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https://player.bfi.org.uk/subscription/film/watch-the-stuart-hall-project-2013-online

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https://www.theguardian.com/film/2013/sep/05/the-stuart-hall-project-review