A few months ago, I decided to watch the movies, Black Panther, and its sequel, Black Panther: Wakanda Forever. Despite not being a big fan of superhero movies, I was interested in how the filmmakers tried to respect different cultures in these films.

Through watching these movies, I discovered that the Black Panther movies were groundbreaking films in several ways, one being their commitment to diverse representation. Both movies feature a predominantly black cast, offering a platform for voices that have been historically underrepresented in mainstream cinema. The characters within the Wakandan universe are richly developed, transcending conventional stereotypes. T'Challa, the central character, embodies a multifaceted portrayal of a king grappling with complex decisions and internal conflicts.

Additionally, the movies offer women significant and empowering roles. Characters like Shuri, Okoye, and Nakia are portrayed as skilled, intelligent, and resourceful individuals who challenge traditional gender norms, presenting inspiring role models for audiences.

These movies also venture beyond simplistic villain portrayals. The complexities of characters like Killmonger are explored, revealing motivations rooted in systemic injustices and issues faced by marginalised communities.

However, it's unfortunate that Chadwick Boseman, the actor who played the lead role in Black Panther, felt a stronger connection to Killmonger, who was Black Panther's adversary. Boseman experienced a disconnection from his cultural roots, making him relate more to a character struggling with identity issues. While it's not absolutely necessary to strongly identify with a particular background, there are many things in modern life that can make us feel isolated, and this constant feeling of disconnection can be emotionally draining. This is something that many people, including myself, can relate to.

These identity, belonging, and heritage themes are woven into the narrative. T'Challa's personal journey to reconcile his responsibilities as a king with his individual beliefs resonates with individuals from various backgrounds who grapple with similar dilemmas.

Although we don't get to choose the environment we're raised in, as adults, we can explore and learn about our ancestral backgrounds. We don't have to remain unaware of the aspects of life that we didn't directly experience. I often emphasise the value of knowledge, and learning about our heritage can indeed be really beneficial. So, I genuinely admire those individuals who bravely face the emotional challenges of grappling with their identity and are open to expanding their understanding.

Now do it again

The movie Shang-Chi and the Legend of the Ten Rings aimed to follow the success of such films. The film showcases a cast of characters that embodies diversity, granting each individual depth, unique skills, and personal motivations. Shang-Chi, the central figure, transcends the confines of traditional Asian stereotypes prevalent in martial arts cinema. His character is multidimensional, grappling with his own trials and undergoing substantial growth throughout the narrative.

One of the film's significant strengths is its depiction of various experiences stemming from diverse backgrounds. Shang-Chi's journey delves into themes of identity, family, and heritage, resonating with individuals from multicultural backgrounds who often grapple with similar concepts. By offering this diverse representation, the movie allows a broader spectrum of the audience to find aspects of their own experiences mirrored on the screen.

A central tenet of the film's inclusivity is its conscious effort to challenge and debunk stereotypes often associated with Asian characters. This is particularly evident in Katy's character, who possesses proficiency in driving rather than martial arts, defying preconceived notions against her gender and cultural heritage. By doing so, the movie dismantles limited expectations and underscores the intricate diversity inherent within any culture.

This also provides a platform to explore complex themes of belonging and identity, particularly for individuals who are overseas-born, such as American-born Chinese, who find themselves caught between two worlds. These films depict the struggles faced by such individuals who don't feel fully embraced either in their ancestral homelands or in the countries they currently reside in. For American-born Chinese or others with multicultural backgrounds, their identities can become a source of tension. They might face challenges connecting with their ancestral culture due to language barriers, differences in societal norms, or limited exposure to it. Similarly, they might not fully align with the culture of their current country due to stereotypes, perceptions, or a lack of shared experiences.

Neither here nor there

On a related note, I recently watched the Warrior series featuring Andrew Koji. At the outset, it struck me as a bit unusual, sparking thoughts about whether the casting decision viewed Japanese and Chinese identities as entirely interchangeable. However, as I delved deeper, I came across remarks from Koji that resonated deeply.

"I grew up in Britain but I was treated differently. I'm half-white but [in] this industry, you're 'Asian.'… I definitely wasn't in touch with my Asian roots; I was pushing that away. … It's only the last couple years that I've started to really find pride in my Japanese roots and culture. For a while I had a psychological block; I went to go live in Japan and I didn't feel at home there either. I was still an outsider, or treated as a bit different."

Actors like Andrew Koji, facing challenges with their mixed heritage, mirror the broader struggles shared by many individuals navigating a sense of not fully belonging due to diverse backgrounds. These complexities extend beyond the entertainment industry and resonate with people from all walks of life, including myself. His experience of balancing his Japanese and English heritage is a microcosm of the broader challenges that those from multicultural backgrounds encounter. This often involves straddling multiple identities and confronting stereotypes and misconceptions from both sides, leading to a continuous need for self-navigation.

He continues in that same interview to say, "My aspiration is to achieve what Idris Elba accomplished with 'Luther,' but for Asian representation. I am determined not to pass away while witnessing the industry remain unchanged from when I entered it."

I can't help but respect his determination. The mindset of striving to leave a domain in a better state than when one initially encountered it is truly commendable. It's an incredibly daunting endeavour, as it necessitates substantial systemic transformation. Nonetheless, the act of working towards this goal holds value, since even incremental contributions can make a difference in some capacity, as we can see in many real-world examples.

Returning to the topic of Black Panther for a moment, Chadwick Boseman, too, has expressed his thoughts in a similar vein:

We know what it's like to be told there isn't a screen for you to be featured on, a stage for you to be featured on. [...] We know what it's like to be beneath and not above. And that is what we went to work with every day. We knew that we could create a world that exemplified a world we wanted to see. We knew that we had something to give.

The market demands

Well, our discussion has ventured into the topic of whitewashing, an aspect I hadn't initially anticipated addressing. However, as we've broached this subject, let's dive right in.

In the context of Exodus: Gods and Kings, the matter of whitewashing ignited considerable controversy. Director Ridley Scott's response, "I can't secure funding for a film of this magnitude by casting an actor named Mohammad from a certain place. The financing just wouldn't materialise. So, that question doesn't even arise," not only came across as defensive and dismissive of the issue, but it also shed light on a broader predicament within the film industry. This incident exposed the inclination for producing high-budget movies to often outweigh social responsibility.

This prevailing attitude among filmmakers, who appear unable to fathom the idea of not creating a film, reflects a larger predicament. It's a mindset that can yield detrimental consequences for the society that consumes their works. The focus on their own ambitions without due regard for societal implications perpetuates a problematic trend.

The film industry frequently extols its capacity to generate employment opportunities and stimulate the economy. This narrative often seems reminiscent of unwavering faith in the trickle-down economic theory.

However, this is merely the tip of the iceberg, as whitewashing has been a recurring issue in the entertainment industry since its inception. Notable recent instances include the film Ghost in the Shell (2017), which cast Scarlett Johansson as a Japanese character, and Aloha (2015), criticised for Emma Stone's casting as a character of mixed Asian and Hawaiian heritage. In Doctor Strange (2016), Tilda Swinton played a character who was originally Tibetan. The Last Airbender (2010) faced backlash for non-Asian actors portraying characters with distinct Asian identities. In Prince of Persia: The Sands of Time (2010), Jake Gyllenhaal's casting as a Persian character was questioned. Gods of Egypt (2016) received criticism for predominantly white casting in an ancient Egyptian setting.

But it's all wrong!

Here's the problem with everything I advocated for above: our world operates under the sway of profit incentives, influencing our capacity and inclination to pursue ethics. It's this very profit-driven dynamic that impedes progress while paradoxically instigating change. The predicament arises from the fact that we're doing the right things, albeit for the wrong reasons.

However, I'm not suggesting a shift towards a stance of postmodern parental guilt. Rather, it's a recognition that the profit-centric model has run its course, having already yielded the extent of innovation it can offer. Consequently, the time has come to embrace the next phase. We possess the resources and technology to forge a path to a future free from scarcity, where everyone's needs are met. In this context, the invisible hand of the market need not dictate our economic landscape.

At the heart of the matter, as ever, lies the divide between those wielding the means of production and those bereft of such control. While politicians, their associates, and the media often divert our attention towards divisive identity politics, the remedy doesn't entail forsaking empathy for those who encounter prejudice based on these identities. I don't suggest anyone be told to shut up and bear the struggles and injustices thrown their way, to wait until the class struggle is resolved. I believe that temporary fixes and support may be necessary for the short term but never at the expense of the long term — not that they have no place at all. The aspiration shouldn't be contingent on dismantling capitalism; every individual should be treated as a fellow human, irrespective of when we overcome the pitfalls of our current economic system and move on to the next. We have the capacity to simultaneously champion the cause of the working class while also safeguarding and supporting those subjected to heightened bias. This isn't an either-or scenario; the fundamental principle need not be relinquished from our focus.