“WAKANDA WILL NO LONGER WATCH FROM THE SHADOWS”

“WAKANDA WILL NO LONGER WATCH FROM THE SHADOWS” AN EXPLORATION OF HOW BLACK PANTHER RETHINKS THE CITY IN SCIENCE FICTION FILM.

- WORD CO

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UNT - 6,672

/ TUTOR

CHIT KE / MA AR - EDDIE BLA

19 ECTURE / 20

SHAWN ADAMS

ACKNOLEDGMENTS

I would like to thank everyone who has helped me complete this body of work. Thank you to Eddie Blake, Barry Curtis, Shumi Bose and Adam Kaasa.

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DISCLAIMER In this dissertation I will be speaking about various science fiction films, mostly Black Panther, Metropolis and Blade Runner. As a result, the contents of this dissertation discuss major spoilers within the plots of each of these films. Therefore, if you haven’t already watched these three science fiction films, now would be an appropriate time!

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CONTENTS PAGE PREFACE

CHAPTER 1 - INTRODUCTION (6-11) - Science Fiction - Science Fiction film - Afrofuturism - Black Panther

CHAPTER 2 - SO WHY THESE FILMS? (12-15)

CHAPTER 3 - THE VERTICAL CITY (16-23)

CHAPTER 4 -STRUCTURES OF POWER, HIERARCHY AND WOMEN (24-27)

CHAPTER 5 - A MACHINE (FOR PRODUCTION) (28-31)

CHAPTER 6 - CITY OF RUINS (32-35)

CHAPTER 7 -THE PRESENCE OF NATURE (36-39)

CHAPTER 8 - FASHION IN THE CITY (40-41)

CHAPTER 9 -CONCLUSION (42-45)

BIBLIOGRAPHY (46-51)

LIST OF ILLUSTRATIONS (52-54)

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PREFACE In this dissertation, I will be interrogating how Black Panther (2018) portrays the city within the genre of science fiction (sci-fi) film. I will examine how the movie attempts to create a new typology for cities which differ from European and American depictions within the genre. Throughout this thesis I aim to explore the portrayal of the city in sci-fi film through specific elements which define it such as: the architecture, fashion, structures of power, verticality of the city and inclusion of nature.

Using Black Panther as a case study I aim to critique the city of Metropolis in Metropolis (1927), Los Angeles in Blade Runner (1982) and various other cityscapes in western sci-fi film. Furthermore, I aim to investigate the social, political and economic values projected within each of these cities.

Lastly, when I use to the word “Black,� I am referring to Black people of African descent.

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CHAPTER 1

INTRODUCTION

6

SCIENCE FICTION

“The genre has been an essential part of technological culture for over a century” 5

Quentin Meillassoux, Science fiction and extro-science fiction, trans. by Alyosha Edlebi, (Minneapolis: Univocal publishing, 1967), p. 4.

1

Keith Johnston, Science fiction film : a critical introduction (Oxford: Berg, 2011), p.7.

2

John E Markley, Lead Yourself Today (Bloomington: WestBow Press, 2014), p. 21.

3

For decades, science fiction has provided a medium for designers, innovators and pioneers to prognosticate, speculate and envision the future. Quentin Meillassoux describes science fiction as “a matter of imagining a fictional future of science that modifies, and often expands, its possibilities.” 1 In contrast to fantasy, science fiction is concerned with the application of science and what humans could possibly contrive in the future. Primarily, science fiction focuses on “thematic areas around technology, science and futurism.” 2 It draws much of its inspiration from interplays between technological and social changes which significantly altered society. An example of this would be the use of machinery during the industrial revolution. In the same way that the steam engine revolutionised manufacturing during the 18th century, science fiction attempts to predict future technology which could transform the socio-economic aspects of society. In the past, science fiction has anticipated the future by presenting an image which people can subscribe to, for example, when Martin Cooper invented the first cellular telephone in 1973 after watching an episode of Star Trek.3 “Martin Cooper can recall the moment when he was at a break in his lab watching the episode of Star Trek when Kirk used his communicator to call for help for an injured Spock, which later inspired him to invent the mobile phone” 4 (fig. 1). This is but one example of science fiction speculating the future through design.

Michael Venables, Why Captain Kirk’s Call Sparked A Future Tech Revolution (2013) <https:// www.forbes.com/sites/michaelvena bles/2013/04/03/captain-kirks-call-to-spock/#39ef8a48a92c> [accessed 29 May 2019].

4

Don Shay, Blade runner : the inside story (London: Titan Books , 2000), p. 6.

5

Fig. 1 Captain Kirk Holding a communicator in the original Star Trek series

INTRODUCTION

7

SCIENCE FICTION FILM In the twentieth century the genre of science fiction branched into various fields, one of these areas being film. 6 Science fiction film is a genre which thrusts “spectators into new spaces that are alien and technologically determined.” 7 In its most radical sense, sci-fi film provides the dissolution of fundamental structures of existence by exposing viewers to a fictional place which behaves differently to its real-life counterpart.8 For example, Los Angeles of 2019 in Blade Runner or Washington of 2054 in Minority Report (2002) (fig.2). As a result, science fiction films are capable of challenging modern-day realties and can be effective in portraying future ideologies.9 However, in the twentieth century sci-fi films began pushing homogeneous western themes due to financial success. The “success of Star Wars can be linked to the production of Battlestar Galactica (1978), Starcrash (1979) and Battle Beyond the Stars (1979).”10 Consequently, the “genre has often been the means by which Hollywood studios produce, and reproduce, successful products.”11 Therefore, due to the success of western sci-fi films in the past, the genre has rarely speculated future Black narratives. Jonathon Dotse - a science fiction writer from Ghana - writes, “when I first started writing science fiction, I wanted my stories to be about Africans, but I found it extremely difficult to imagine a future setting of Africa, simply because my perceptions were dominated by the implicit assumptions built in to the predominant Eurocentric narratives of the future.” 12 Eurocentric narratives of the future in sci-fi film are often reinforced by the predominance of white male protagonists. A study of the top 100 highest grossing science fiction films in the US in 2014 “showed that just eight of those 100 movies had a non-white protagonist”13 (fig. 3), with Will Smith making up six of the eight protagonists of colour (fig. 4).14

“Travelling from the Earth to the moon, to Mars, to the sun, or to other fantastic planets in the solar system and beyond, has long been a stalwart of science fiction.” 15 6 David T Fortin, Architecture and science-fiction film: Philip K. Dick and the spectacle of home (Farnham: Ashgate, 2011), p. 12 in ,

<https://www.dawsonera.com/readonline/9781315262246> [accessed 5 April 2019].

Scott Bukatman, Blade Runner (London : British Film Institute, 1997), p. 9.

7

8

Ibid., p. 8.

9

Keith Johnston, p. 12.

10

Ibid., p.11.

11

Ibid., p.11.

12 Lien Heidenreich and Sean O’Toole, African Futures : thinking about the future through word and image (Berlin: Kerber, 2016), p. 24.

Gena-mour Barrett , Afrofuturism: Why black science fiction 'can't be ignored' ( 2018) <https:// www.bbc.co.uk/news/newsbeat-43991078> [accessed 29 May 2019].

13

Jason Low , WHERE’S THE DIVERSITY, HOLLYWOOD? SCI-FI AND FANTASY BLOCKBUSTERS OVERWHELMINGLY WHITE, MALE (2014) <https:// blog.leeandlow.com/2014/07/29/wheres-the-diversity-hollywood-sci-fi-and-fantasy-blockbusters-overwhelmingly-white-male/> [accessed 30 May 2019].

14

15

Heidenreich and O’Toole, op. cit., p. 64.

Fig. 2 Minority Report: Washington in the year 2054 - Runtime 20:28

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INTRODUCTION

Fig. 3 The Diversity Gap in Sci-Fi & Fantasy Films infographic

Fig. 4 Will Smith: 6 out of 8 Black protagonists © Getty images

INTRODUCTION

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AFROFUTURISM The lack of African narratives in science fiction, reinforced by the Black identity movements of the 1960s and 1970s,16 resulted in the birth of Afrofuturism.

Originally coined by Mark Dery in his essay Black to the Future (1993), Afrofuturism was a reaction to the ghettoisation and encoding of African-American aspirations by white societies.17 For Mark Kamau - who is an Afrocentric designer from Kenya - Afrofuturism is “a cultural movement that combines African culture and identity with technology and science fiction.”18 It frees Africa from tropes associated with poverty and famine and reimagines the continent in a scientific and technologically advanced manner. Using African diaspora to speculate the future, Afrofuturism has been expressed through various mediums in the past. These include music, art, fashion, literature, architecture and film. The befuddling paintings of Jean-Michel Basquait19 (fig. 5), cosmic soundscapes of jazz composer Sun Ra and avant-garde architecture of Oscar winning blockbuster, Black Panther,20 all embody intrinsic themes of Afrofuturism. In regard to architecture, Afrofuturism encapsulates ideas that take from African tradition as much as from the existing conditions.21 As a result, Afrofuturism challenges western post-colonial design and presents new depictions of African cities. This is can be seen in Ryan Coogler’s Black Panther.

Edwin Heathcote, The Afrofuturists with designs on African architecture (2019) <https://www.ft.com/ content/19ce47f4-8b5b-11e9-a24d-b42f641eca37?sharetype=blocked> [accessed 1 July 2019].

16

Ibid.

17

Amy Frearson, Afrofuturism is "creating a different narrative for Africa" say creatives (2018) <https:// www.dezeen.com/2018/04/06/afrofuturism-different-narrative-architecture-design-fashion-africa/> [accessed 5 April 2019].

18

19 Mark Dery, 'Black to the Future: Interviews with Samuel R. Delany, Greg Tate, and Tricia Rose', in Flame Wars: The Discourse of Cyberculture (London: Duke University Press, 1994), p.182 20

21

Gena-mour Barrett.

Op. cit.

Fig. 5 Jean-Michel Basquiat Molasses

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INTRODUCTION

BLACK PANTHER Releasing a year after Blade runner 2049 (2017), Black Panther was “the first mainstream science fiction movie to be set in Africa and to feature a predominantly black cast.”22 First imagined by Stan Lee and Jack Kirby in the pages of Fantastic Four in 1966 (fig. 6),23 Marvel’s Black Panther takes place in the fictional, and reclusive nation of Wakanda. The success of this secluded East African country stems from a mysterious extra-terrestrial material named Vibranium. This remarkably rare metal stores vast amounts of energy,24 subsequently driving the economy of Wakanda. The film explains that a meteor of Vibranuim crashed in the nation a millennium ago and is now the country's source of technological success. When Wakandan warrior Bashenga digests a plant, which has traces of the metal, he gains superhuman abilities and becomes the first ‘Black Panther’ 25 (fig. 7). He then goes on to unite four of the five warring tribes of Wakanda whilst making Golden City the nation’s capital. In the film, the title Black Panther is a ceremonial mantle which is granted to the chief of the Golden Tribe. Following his father’s death (T’Chaka), T’Challa has now become the new Black Panther of Wakanda.

22

Amy Frearson.

Eric Francisco , Wakanda in 'Black Panther' is an Alternate Dimension Without Colonialism (February 7, 2018) <https://www.inverse.com/article/40961-black-panther-wakanda-real-life-inspirations-africa> [accessed 15 June 2019].

23

Slavoj Žižek, Quasi Duo Fantasias: A Straussian Reading of “Black Panther” (2018) <https://lareviewofbooks.org/article/quasi-duo-fantasias-straussian-reading-black-panther/#!> [accessed 30 May 2019].

24

25 In instances where ‘Black Panther’ is not in italics, I am referring to the title as opposed to the name of the film.

Fig. 6 Wakanda as it appeared in Fantastic Four #52 in 1966

Fig. 7 Black Panther in Marvel Comic

INTRODUCTION

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CHAPTER 2

WHY THESE FILMS?

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SO WHY THESE FILMS? In this dissertation I have chosen to compare Metropolis to Black Panther, as Fritz Lang’s German sci-fi film is an interplay of technological advancement and social class. During the 1920s, European and American cities in science fiction film were characterised as being “overcrowded, claustrophobic, dark and violent.”26 This directly contrasts the well populated and tranquil Golden City of Black Panther. Having visited the United States in 1924 Lang, embodied the dominating skyline of New York within the city in Metropolis.27 The vertical cityscape and elevated corridors of traffic in his German expressionist science fiction film also draw reference from William Robinson Leigh’s Visionary City (1908)28 (fig. 8).

Metropolis29 is a picturesque “city of soaring skyscrapers and high-level bridges towering over cavernous, restless traffic arteries,”30 where the lower class are dehumanised and only seen as tools for production. Throughout the film we see a city which illustrates strong authoritarian control systems that are governed by strict structures of oppression. These are themes that are absent in Black Panther and throughout this dissertation I aim to investigate the implications of the lack of these concepts.

Ultimately, by using Metropolis as a case study, I aim to explore how Black Panther images a city which contrasts themes of segregation and division within science fiction film.

For the second case study, I have chosen the city of Los Angeles in Ridley Scott’s Blade Runner. The city of Los Angeles in 2019 is decadent, grungy and turbulent, it is the polar opposite to the unsullied Golden City of Black Panther. Whilst Black Panther is an optimistic depiction of the city, Blade Runner is a dark dystopian vision of society in the future. As a result, throughout this dissertation I will investigate how these two opposing depictions of society rethink the cityscapes in sci-fi film.

The negative portrayal of the city in Blade Runner was due to the rise of gangster films complemented by the darkness of film noir in the 1950s.31 Based on Philip K Dick’s novel Do Androids Dream of Electric Sheep? (1968), Blade Runner focuses on the menacing Tyrell Corporation which is situated on the fringe of the ungodly city. Founded by Eldon Tyrell, the high-tech company creates synthetic humanoids named ‘replicants.’ In the film, Blade Runners are tasked with murdering these artificial humans as they stealthily hide across the denaturalised townscape. As the main protagonist Rick Deckard, searches frantically for these androids, neon advertisements expose the dreary, forgotten streets where new structures intermingle with the old ruins. Los Angeles boasts a population of over 90 million inhabitants as a result of mass migration, making the city a diverse manifestation of nationality, ethnicity and culture.

SO WHY THESE FILMS?

John R Gold, 'Under Darkened Skies:', The City in Science-fiction Film, Vol. 86.No.4, (2001), 9, p. 338.

26

27 Anton Kaes, “Metropolis: City, Cinema, Modernity,” in Expressionist Utopias: Paradise, Metropolis, Architectural Fantasy ed. by Timothy O. Benson (Los Angeles; Los Angeles County Museum of Art, 1993), p.146.

Islam M Abouhela, Khaled Dewidar and Amr Al-Gohary, Significance of Future Architecture in Science Fiction Films (Cairo: The British University in Egypt, 2007).

28

In instances where “Metropolis” is not in italics, I am referring to the city as opposed to the name of the film.

29

30

John R Gold, op. cit., p. 339.

31

Ibid., p.339.

13

Fig. 8 William Robinson Leigh - Visionary City

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Japanese sushi bars are juxtaposed with western strip clubs, bright billboards scale multi-storey buildings as darkness shrouds the crime infested streets. European, Asian and Hispanic people can all be seen speaking to one another in gloomy, cheerless slums sit between the clustered vertical structures. Due to the success of Blade Runner, sci-fi films released after it emulated its vision of the city.32 Panoramas of sprawling vertical architecture clustered with densely situated towers in tyrannical cities soon became hallmarks in science fiction film.33 This framework for sci-fi film can be clearly seen in films that were released after Blade Runner, such as Fifth Element, Dark City (1998) and Dredd (2012).

Ultimately, there are various themes which Black Panther, Blade Runner and Metropolis all address, such as verticality, structures of power and the inclusion of nature and fashion within the city. However, each of these films depict the cities differently. It is important to note that whilst these films may differ, various reoccurring themes are present in both Metropolis and Blade Runner. One of the main principles being the vertiginous nature of the city. Both films relegate the poor to the lower levels of the city and both films show clear structures of power.

Stephen Graham, 'Histories of the future in urban science fiction', in Vertical Noir (: Informa UK Limited, 2016).

32

33

SO WHY THESE FILMS?

John R Gold, p.338

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CHAPTER 3

THE VERTICAL CITY

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THE VERTICAL CITY During the 19th and 20th century, the vertical portrayal of the city completely dominated science fiction film.34 The soaring buildings of Metropolis (fig. 9) and overwhelming tall architecture of Blade Runner, influenced the lofty cityscapes of sci-fi films such as Fifth Element (1997), Cloud Atlas (2012) and Dredd (2012) (fig. 11). This fascination with verticality can be traced back to H.G Wells’ book The Sleeper Awakes, where Wells argues that the future of architecture revolves around gigantism.35 In H.G. Wells inspired film Things to Come (1936), the city of Everytown in 2036 is a sprawling underground megalopolis where elevated passageways weave into high-rise structures.36 “Everytown was a city of progress and modernity constructed by the technological elite for the common good.” 37 The city of Metropolis is similar to Everytown; however, Metropolis owes its verticality to the oppressed proletariat. The workers who meticulously built the urban environment have now been relegated to the bowels of the city, dwelling in “crowded streets and cramped habitation” 38 (fig. 10). In contrast, the upper class can be found frolicking in ornate eternal gardens (fig. 11). These heavenly gardens allude to the biblical Garden of Eden, whereas the dwelling place of the lower-class workers is hellish and distasteful; unlike Everytown, Metropolis is not a city of common good. The “vertical, futuristic city is segmented into the upper world of the factory-owner and the lower world of the workers” 39 and as a result, Metropolis is a systemised city where the upper and lower-class seldom mix. Additionally, the dominant vertical architecture of the New Tower of Babel is juxtaposed with the subterranean catacombs of the working class.40 This dichotomy of space creates hugely segregated areas. “This literal depiction of a class-based hierarchy has been richly portrayed in a variety of interesting science fiction texts, from J.G Ballard's High Rise, to more recent stories such as Altered Carbon.”41 Ultimately, The vertical architecture of Metropolis implies “a vast city of the future neatly divided into the downtrodden masses and a ruling elite.” 42

Joe Carmichael, We're Building Urban Dystopias on Purpose (July 20, 2016) <https://www.inverse. com/article/18488-science-fiction-future-city-planning-dubai-skyscrapers-dystopia> [accessed 15 June 2019].

34

35

Ibid.

36

John R Gold, p.339

37

Ibid., p.339

38

A Scott

Barbara Mennel, Cities and cinema (London: Routledge, 2008), p. 23.

39

40

Anton Kaes, p.148.

Rich Haridy, Science Fiction Cities: How our future visions influence the cities we build (July 28th, 2018) <https://newatlas.com/science-fiction-cities-future-urban-visions-architecture/55569/> [accessed 15 June 2019].

41

John Brosnan, Future tense : the cinema of science fiction (London: Macdonald and Jane's, 1978), p. 29.

42

Fig. 9 Mega City One - Dredd THE VERTICAL CITY

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Fig. 10 Workers - Metropolis

Fig. 11 Pleasure gardens - Metropolis Runtime 9:04

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THE VERTICAL CITY

On the contrary, in Black Panther the fragments of verticality in Golden City fail to highlight the dwelling spaces of upper- or lower-class people. However, it can be argued that since Wakanda is a nation of equal tribes, there are no upper-or lower social classes within the city.

Nonetheless, a mix of different height buildings line the busy streets of Golden City. These structures do not give any indication of affluence or wealth and instead create visual diversity within the Afrofuturistic city.

Furthermore, the high-rise architecture is not as densely arranged as the swarm of abutting buildings in both Blade Runner and Metropolis (fig. 12). In Blade Runner, the dense elongated architecture of Los Angeles is a result of the city unrelentingly building upwards due to mass migration. As the city struggles to host its 90 million inhabitants, the built environment has grown vertically to accommodate the population increase. Conversely, in Black Panther, since Wakanda is unknown to the outside world, Golden City has never needed to harbour tens of millions of people. Therefore, it can be argued that if foreigners were able to venture to Golden City then the capital would become more dense, elevated and vertical. However, having a relatively controlled population, due to the lack of migration, Golden City is capable of remaining dwarfed in comparison to Los Angeles and Metropolis.

In Blade Runner, Los Angeles is an “upper city and lower city”43 with the streets forming the basement of the crowded urban landscape.44 The lower depths of Los Angeles are dark smog infested realms of pollution, where truncated structures juxtapose violent and anarchic alleyways (fig. 13). In Black Panther, the streets do not suggest high levels of immorality or crime, they are brightly lit zones of community activity, where vendors show citizens their wares from futuristic devices. In Blade Runner the streets are “a mixture of anthill and labyrinth; a place where good had to struggle to overcome inherent evil.”45 They form a convoluted maze of negative and cynical interactions as opposed to the positive social hub which is presented in Black Panther (fig. 14). Furthermore, the lack of dark monochromatic colours in Golden city suggest a level of morality and intrinsic purity which contrasts the dark and gloomy shades of Los Angeles, where immoral activities are endemic. In Blade Runner, Los Angeles is shown mostly at night, this suggests high levels of danger and corruption as the bowls of the city are dark, enigmatic and hidden. Black Panther never suggests that villainous activities occur at the lower depths of the city. However, it is interesting that the final battle between T’Challa and the main antagonist Erik Killmonger happens underground in a dark cerulean cave rather than within the city (fig. 15). Once T’Challa has defeated Killmonger they are both seen above land in a more moral setting as the sun begins to set (fig. 16). This hints that in sci-fi film a cities secrets are often hidden and dealt with underground similar to the workers in Metropolis.

THE VERTICAL CITY

Patrick Sisson, Meet Syd Mead, the artist who illustrates the future (Oct 9, 2017) <https://www. curbed.com/2015/7/23/9937790/syd-mead-city-architecture-blade-runner-design-future> [accessed 15 June 2019].

43

43

Ibid.

45

John R Gold, p.338.

46

Barbara Mennel, p. 146.

(Fig. 12) City of Metropolis - Metropolis

19

Fig. 13 Street in Blade Runner

Fig. 14 Golden City - Black Panther Runtime 31.55

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THE VERTICAL CITY

Fig. 15 Erik Killmonger fighting T'Challa in Mount Bashenga in Black Panther

Fig. 16 Erik Killmonger and T'Challa above ground after their battle - Black Panther Runtime 1:52:25

THE VERTICAL CITY

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In Fifth Element, like Blade Runner, the idea of the vertical city is continued in the towering nature of New York in 2259. At the upper levels of the vertical city, trains can be seen rushing down colossal structures as vehicles fly upwards past fragmented exoskeletal buildings (fig.17). “The vertical growth of the city is indeed a diction that of 20th century New York, due to the physical constraint of the land and the ever growing population of this city.”47 The upper end of the city in Fifth Element is densely filled by flying cars. In Black Panther, we never see a congested sky of flying machinery as a result of the verticality of the city. Rather than flying vehicles that clog the city, on the streets, there are “the occasional appearance of small budlike shuttles”48(fig.18) We never see large numbers of vehicles in Golden City. It appears that the main mode of transport is an Elon Musk style fast train, named Maglev trains.

This is interesting because like the shuttle bus it means that Wakandas commute to places together in groups rather than alone. This references African traditions of hunting and moving around in packs, which can still be seen today in tribes such the Hadza people. Western sci-fi films such as Metropolis and Blade Runner do not illustrate futuristic modes of collective travel across the city like in Golden City.

During the first 15 minutes of Black Panther, we see slender, vernacular skyscrapers which share similar apexes to the rondavel roofs of Botswana and thatched roofs indistinguishable from the Zulu Kraal iQukwane homes in South Africa (fig. 19). Tall structures are scattered across the city, but they do not congest the skyline like the high-reaching buildings in Blade Runner and Metropolis (fig. 20). Typically, in science fiction we are provided with visions of the city expanding and merging with smaller cities to create massive urban sprawls.

This can be seen in Megacity one in Dredd, and the vertical city of Los Angeles of Blade Runner and Metropolis (fig.21). Ultimately, the vertical growth of the city in sci-fi film is based on real world New York in the 20th century. This vertical growth of this western city was a result of the physical restriction implements of the land and the rapidly growing population. Nonetheless, tall buildings “are statements of intent,”49 projecting values such as power, class and authority. The vertical city of Metropolis embodies the upper class' dominion over the factory workers, whilst the overwhelming high structures in Blade Runner create a sense of immorality at the lower depths of the city. The lack of overall verticality in Black Panther suggest that the sci-fi city wasn’t built from segregation and exploitation of lower classes. Unlike Black Panther, one of the main principles found in both Blade Runner and Metropolis is the vertiginous nature of the city. This vertical vision of cities stems from western ideals, “the longing to grow vertically, bigger, more spectacular mirrors America’s socio-economic trajectory during the 20th Century.”50 Similarly, in Metropolis the verticality of the city stems from a trip Fritz Lang made to New York in 1924.51 Western sci-fi films tend to divide their intensely vertical cities into two distinct areas with the wealthy at the top and the poor relegated to the bottom, Golden City negates this and challenges the need for tall imposing architecture in the city.

22

(Fig. 17) The city in Fifth Element

(Fig. 18) Shuttle Bus of Wakanda

Sreekanth S, FUTURISTIC ARCHITECTURE IN MOVIES (March 21, 2011) <https://futuristicarch. wordpress.com> [accessed 17 June 2019].

47

48 Marc Malkin, The Real-Life Possibilities of Black Panther's Wakanda, According to Urbanists and City Planners (2018) <https://www.architecturaldigest.com/story/the-real-life-possibilities-of-black-panthers-wakanda-according-to-urbanists-and-city-planners?mbid=social_facebook> [accessed 17 June 2019].

William William Murray 'Selling Tall: The Branding and Marketing of Tall Buildings', in Tall Buildings and Urban Habitat (Shanghai: CTBUH 2012 9th World Congress, 2012). p.303

49

50

Ibid. p302-307

Islam M Abouhela, Khaled Dewidar, and Amr Al-Gohary, Significance of Future Architecture in Science Fiction Films (Cairo: The British University in Egypt, 2007), p.2

51

THE VERTICAL CITY

(Fig. 19) Opening scenes of Black Panther Runtime 12:38

Fig 20. Golden City overview

Fig 21. Blade Runner has a dense vertical city THE VERTICAL CITY

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CHAPTER 4

STRUCTURES OF POWER, HIERARCHY AND WOMEN

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STRUCTURES OF POWER, HIERARCHY AND WOMEN In western sci-fi films, monumental buildings which characterise the city often sit amongst the highly vertical urban fabric. In Metropolis and Blade Runner, these structures are the New Tower of Babel and the Tyrell Building respectively. These monstrous buildings evoke feelings of transcendent power and imperial authority. In Blade Runner, the Tyrell Building uses ancient architecture to reinforce hierarchical structures of power. 52 The grandiose pyramid shaped home of Eldon Tyrell references ancient Mesopotamian Ziggurats - the dwelling places of gods (fig. 22 ). Whereas in Metropolis, the monumental home to master of the city Joh Frederson emulates the biblical Tower of Babel (fig. 23).

Conversely, in Golden City, the citadel building which is home to the Black Panther, is a tall, elegant and tactile structure. It is highly referential of the Djinguereber Mosque in Timbuktu (fig. 24) and appears to be in the centre of Golden City (fig. 25). Blade Runner, Metropolis and Black Panther all use religious symbolism to inform the design of their most important buildings.

However, whilst each of these films use religious symbolism for their monumental buildings, Black Panther is the only film in which this symbolism doesnâ&#x20AC;&#x2122;t reinforce hierarchy within the city.

In Metropolis the New Tower of Babel is an imposing, Art Deco structure which is intended to be unreachable for the lower class (fig. 26). In Blade Runner, the Tyrell building is also a menacing building which is rarely visited. Whereas the citadel building of Golden City hosts various tribes and is an inviting space. In the same way that the Djinguereber Mosque is an inviting building the citadel building aims to welcome Wakandas.

It is worth noting that the space that is occupied by the Wakanda rulers in the film, is not at the highest point of the building (fig. 27). From the glass it appears that neighbouring buildings stretch higher, meaning that the Black Panther doesnâ&#x20AC;&#x2122;t look down on the rest of society from the highest point in the city. In Metropolis, Joh Frederson, watches over the city as if he is a God. He stares outside his in a control room window at the apex of the New Tower of Babel, as the working class slave allow underground. He is situated at the highest point of the city representing power and authority over all the other residents of Metropolis. Similarly, in Blade Runner, Eldon Tyrell looks out over the somewhat golden sky from his monstrous home. Unlike the other buildings in Blade Runner this building receives natural light inferring that only the most powerful people in the city can have this luxury.

52 Camille Coy, Dystopian Blueprints: Architecture as Narrative in Blade Runner and The Fifth Element (Dec 5, 2018) <https://camillecoy.com/ writing/dystopian-blueprints-architecture-as-narrative-in-blade-runner-and-the-fifth-element> [accessed 17 June 2019].

Fig. 22 Tyrell Corporation

Fig. 22 Pieter Bruegel the Elder, The Tower of Babel, 1563

Fig. 24 Djinguereber Mosque in Timbuktu

25

STRUCTURES OF POWER, HEIRARCHY AND WOMEN

Fig. 25 Citadel Building - Black Panther Runtime 12:40

Fig. 26 New Tower of Babel

Fig. 27 Citadel Building Interior- Black Panther

THE VERTICAL CITY

26

When looking at more human centred structures of power and hierarchy, it is important to note that in Golden City, women play key roles within the city. Black Panther imagines the role of woman in the city as integral as the role of men. King T’Challa’s body guards are the Dora Milaje, which is formed by women. Furthermore, his younger sister Shuri, is Wakanda’s chief technology expert. Whilst the Dora Milaje actively protect the king his little sister creates his technologically advanced equipment. Without, the Dora Milaje and Shuri, Golden City would not have the level of protection and technological expertise it currently has. However, the film doesn’t actually state if a female can become the Black Panther.

In western sci-fi films women are present but they are often far from the main protagonists. In Metropolis, the upper-class women are highly sexualised and seem to be mere entertainment for the aristocratic men. These sexualised themes can also be seen in sci-fi films such as Ex Machina(2014), where the artificial robot is Ava attempts to escape from her male creator Nathan Bateman.

Similar themes are apparent in Blade Runner as Rachel the replicant escapes from her wealthy, middle aged creator with protagonist Rick Deckard.

Ultimately, Metropolis, Blade Runner and Black Panther all highlight various levels of hierarchy within the city.

This hierarchy is both architectural and social. In Blade Runner, the Tyrell Corporation’s building is monumental and powerful but their presence in the city is also powerful. Nonetheless, in Los Angeles there is a clear sense of hierarchy with the replicants being expendable artificial humans. They are mere tools at the disposal of the elite. Whilst in Metropolis the lower class are seen as expendable to the aristocratic upper class.

The workers of Metropolis and replicants of Blade Runner are both dehumanised and only seen as machinery. In Black Panther, the city appears significantly less hierarchical with citizens seeming relatively equal.

27

CHAPTER 5

A MACHINE (FOR PRODUCTION)

28

A MACHINE (FOR PRODUCTION) With the large-scale industrialisation of Europe and the U.S the 19th century, science-fiction started to make predictions on how machinery would alter society. As a result, in many western sci-fi films there is a distinctive link between human and machine. “Metropolis begins with an abstract montage of machine motion.”53 We are presented with the monotonous movement of industrial machinery, cogs spin and gauges rise rhythmically, whilst the hands of the ten-hour clock revolve slowly. In Metropolis, “the city, the workers’ bodies, and the film itself are all associated with the machine.”54 The workers are biological extensions to the mechanical arms of the machines. They are part of the production line of the city. When all goes wrong and workers die as a result, the machines do not stop, workers are quickly replaced, and the production swiftly continues. Additionally, when the workers finish their ten-hour shifts, we see them walking slowly in unison. Their movement through the underground passageways is stiff and robotic. The streets are like conveyor belts as they carry the factory-working proletariat make and forth repeatedly55 (fig. 28).

In Blade Runner, the concept of the city as a machine is embodied through the Tyrell Corporation. The high-tech company is essentially a machine which produces artificial humans. However, in Blade Runner, unlike Metropolis the mechanical production which defines the city is scattered across the urban landscape. The manufacturing of replicants does not take place in a large underground factory like in Metropolis, but instead replicant workshops are spread throughout Los Angeles.

Old methods of production which used to take place in one location have been replaced with networks of production which span the length of the city. As a result, the entire city acts as a machine. This is not explicitly addressed in Black Panther, but since the Vibranium is transported by fast train from Mount Bashenga, one can assume the manufacturing of Vibranium is spread throughout Golden City. Although, we see that raw Vibranium being transported by the Wakandan Maglev Train we never actually see how it is processed into a usable item.

“The machine dominated environment of Metropolis recurred in several films (Alphaville, 1965; Fahrenheit 451, 1966; Logan’s Run, 1976), in which the cities are technological marvels but where people live impoverished lives and strictly imposed authoritarian codes.” 56

53

Anton Kaes, p.178

54

Ibid., p.178

Islam M Abouhela, Khaled Dewidar, and Amr Al-Gohary, p.2

55

56

John R Gold, p.338

Fig. 28 Workers walking undergound in Metropolis

A MACHINE (FOR PRODUCTION)

29

Ultimately, it appears that western sci-fi films are characterised by Le Corbusierâ&#x20AC;&#x2122;s vision of Contemporary City. The city in Eurocentric science fiction films, is essentially a machine built for a specific purpose. In the case of Metropolis, the city is a machine maintained by the working class. As these highly exploited citizens slave away gruellingly underground in dystopian factories the upper class reap the benefits of their labour (fig. 29). Conversely, whilst machinery depicts the success of Wakanda, citizens are not exploited as a result of it. Furthermore, although Wakanda is technologically advanced we do not see artificial humans, slaves or robots used to manufacture resources. As a result, Black Panther shows a dependence on technology but not the exploitation of its people as a consequence of this. Wakandaâ&#x20AC;&#x2122;s inhabitants are not merely cogs that make the city function like in Metropolis.

30

A MACHINE (FOR PRODUCTION)

Fig. 29 The upper class of Metropolis Runtime 7:11

A MACHINE (FOR PRODUCTION)

31

CHAPTER 6

CITY OF RUINS

32

CITY OF RUINS “By the mid-twentieth century, many of our great cities were in physical decay.”57 As a result, various western science fiction films began to portray decrepit urban cityscapes. Rather than illustrating dying cities through the depletion of nature, this was instead executed by presenting neglected urban cities. In Blade Runner, the city of Los Angeles is continuously degrading. Old and new buildings crash together as contemporary structures mushroom over the debris of ageing ruins. Demolition has become incredibly expensive; as a result, the city has become a palimpsest of architectural components. Los Angeles of 2019 is a deeply layered city with a warren of architectural typologies. Glass towers meet deteriorating structures whilst neon advertisements hug the crumbling facades of buildings. Vast amounts of “oil refineries and processing plants are intermingled with other aspects of the urban fabric.” 58 Whilst the decline of the city in Blade Runner appears to mainly be external, it can also be seen in internal spaces within the film. The home of genetic designer J. F. Sebastian, is an atmospheric grim, decaying space. Beams of light pervasively pierce through the abandoned apartment illuminating leaking pipework and crumbling construction work (fig.30). The morbid interior of the Bradbury Apartments is but a reflection of the diminishing city of Los Angeles. These apartments starkly contrast the internal spaces of Golden City depicted in Black Panther. When viewers see the interior of the citadel building, the meeting room is well maintained and sleek. The room is in a good condition and shows no signs of decay. Metropolis on the other hand, similar to Blade Runner doesn’t show a city in ruin or disrepair. However, it can be argued that in Metropolis the workers are in fact the ruins of old. The city has built on top of them and has completely forgotten about their existence.

CITY OF RUINS

57

John R Gold, p.27

58

Ibid., p.339

33

Fig. 30 Bradbury Apartments

34

CITY OF RUINS

By building on top of ruins, Blade Runner and Metropolis are both suggesting that previous histories have been removed. They have now been replaced by new narratives which characterise the city such as, a city where artificial humans run rampant and a place where affluent planners dwell in pleasure gardens respectively. These narratives were different in the past, but now those at the top of the social ladder dictate the history of the city. This can be seen in Metropolis as the workers that built the urban environment are essentially erased as they are hidden underground out of sight. As a result, Black Panther suggests that the history in the city holds significant importance as new architecture is built amongst old instead of on top of it and none of the citizens are hidden out of sight. However, if continue to think of ruins as intangible historical, and political items as opposed to physical architectural objects, it is interesting to think that past historical ruins of Africa are non-existent in Golden City. Although Wakanda is removed from western atrocities, it is apparent that in the film transatlantic slavery still existed. This is shown when main antagonist Killmonger says â&#x20AC;&#x153;bury me in the ocean, with my ancestors that jumped from the ships, because they knew death was better than bondage.â&#x20AC;? It appears that Black slave history isnâ&#x20AC;&#x2122;t present in Golden City which begs the question of whether Wakanda needed to be directly affected by it in order to reference it within the city. Nonetheless, the neighbouring countries of Wakanda were hugely affected by the slave trade.

CITY OF RUINS

35

CHAPTER 7

THE PRESENCE OF NATURE

36

THE PRESENCE OF NATURE In western sci-fi films, nature seems to either be completely eradicated or portrayed in highly controlled settings. In Blade Runner 2049 and Star Wars: Episode IV - A New Hope (1977) viewers are exposed to images of exhausted cityscapes from the red desert of Las Vegas (fig. 31) to the â&#x20AC;&#x153;the sweeping desert plains of Tatooineâ&#x20AC;?59 (fig. 32). The violent red of the desert and dwindling orange fog in Blade Runner 2049 suggest a blistering depletion of nature. Furthermore, the removal of nature can be seen in the static surfaces of the digital cities in films like Tron Legacy (2010). The overarching darkness of the city which is starkly illuminated by blue neon lights in Tron Legacy, shows the complete exhaustion of natural light in favour of technology (fig. 33). In addition, dystopian science fiction films such as the The Day after Tomorrow (2004) and 2012 (2009) have acted as warnings and precursors for things to come.

Fig. 31 Blade Runner 2049 - Runtime 1:33:39

59

Keith M Johnston, p. 15.

Fig 32. Star Wars: Episode IV - A New Hope - Runtime 24:44

Fig 33. Tron City THE PRESENCE OF NATURE

37

In Metropolis, nature only appears “in the form of roof gardens for the very wealthy.”60 The poor can only interact with monotonous static machinery. The wealthy upper-class commune with nature as they prance around their leisure gardens (fig. 34). Whereas, in Blade Runner it appears neither the upper or lower-class have the option of interacting with nature. In Los Angeles in 2019, the majority of natural elements shown within the city are destructive and hostile. In the opening scenes of Blade Runner we see the city at night. The city is a dense network of lights similar to Greek star constellations.

Belching blasts of fire shoot out from grubby smokestacks as flying vehicles dash towards the devilish red sky (fig. 35). This scene is remarkably similar to the hellish landscape at the top right of Hieronymus Bosch’s triptych, The Garden of Earthly Delights (fig. 36). At the right hand corner of this panel the tone is dark with lights illuminating the burning city. When we see Golden City the when we are presented with earthly tones, luscious greens and muted browns blend the cityscape with the far-reaching landscapeIn Wakanda, water slices through the urban fabric, sunlight beams off of the tactile building surfaces and hedges weave between low rise structures. Golden City appears to be the first two panels of Bosch’s triptych whilst Blade Runner is the final. The city of Los Angeles is hellish and dark. In Blade Runner we see bolts of lightening, viciously strike the townscapes as if the inhabitants have angered Zeus, the God of thunder.

These cries of nature only act to illuminate the industrial structures which now reign over nature. The only other sense of nature we get is when the black thickened clouds release large downpours of rain onto the underlying chaos. There is a lingering fog in the rain-soaked city which masks much of the activity at street level. In Blade Runner it feels as if humans have not only completed depleted the landscape as all vestiges of nature have been eradicated but they have also made animals extinct.

We see artificial animals in the form of an owl and snake within the film but we do not see any actual animals.

Fig 34. Leisure gardens in Metropolis Runtime 9:04

Fig 35. Blade Runner sky

Fig 36. Hieronymus Bosch - The Garden of Earthly Delights (top of right panel)

60

38

Scott Bukatman, p. 63.

THE PRESENCE OF NATURE

In the opening scenes of Black Panther, T’Challa’s airship briskly rushes past the mountainous landscape before breaking through the holographic barrier which allows Wakanda to remain hidden (fig. 37). The fact that Wakanda is a thriving nation whilst seemingly non-existent to the outside world, hints at colonialism and the stripping of African. Historically, Africa has been seen as a commodity to foreign invaders due to it being “rich in gold, diamonds, oil and many other coveted natural resources.”61 Therefore, by remaining hidden, Wakanda has dodged western atrocities such as the aggressive stripping of African resources and the inhumane transatlantic slave trade. This ultimately suggests that the success of non-western cities in sci-fi film stems from the lack of external interference. Golden City is a dynamic, vibrant and lively place of positive interactions. The name Golden City implicitly references the mythical city of gold, El Dorado. Similarly to El Dorado, Golden City is a place where European and American colonisers were unable to discover. Should they have entered this fabled city, these westerners would have violently stripped the city of all its resources. This implies that if not hidden, non-western cities in sci-fi film need be situated out of reach of European conquerors in order to flourish. It is interesting to note that whilst Africa may be rich in resources the continent “has not managed to capitalise on its wealth.” Golden City depicts imagery of an African society where famine, deprivation and poverty have all been replaced with scenes of technological advancement and economic success.

Good Governance Africa, Africa’s natural resources: If we are so rich, why are we so poor? The Journal of Good Governance Africa, p.1.

61

62

Ibid., p.1

63

John R Gold, p. 342

Lastly, it is worth noting that whilst Golden City is a technological city which appear to be congruent with nature, there are still rural areas outside of the city. It is as if the urban cityscape has continuously developed whilst agricultural areas have remained untouched. This is interesting because at that the ending of the theatre release of Blade Runner we see Deckard and the replicant Rachel escape Los Angeles into a pristine sunlight green environment. Suggesting that in the future there are still unchanged natural landscapes “beyond the corrupting embrace of the city.”

Fig 37. Black Panther Runtime 12:38 THE PRESENCE OF NATURE

39

CHAPTER 8

FASHION IN THE CITY

40

FASHION IN THE CITY What is worn in a science fiction film is usually an indication of the politics, history and economy of the city.

Fashion in the city can illustrate what types of humans live there and their views towards urban life.65 In Metropolis only “the rich have the privilege of wearing elaborate clothing.”66 The rich wear white bright ornate clothing whilst the lower-class workers don dreary, uncharacteristic rags. As a result, the bodies of the workers appear depersonalised. In addition, the bland tones of the workers clothes blend in with bloomy architecture of the lower depths of the city.67 These tones are then reinforced by the sequential movement of the workers.

The calculated but static of the workers movement is in tradition of the agitprop and theatre of Erwin Piscator, in which individuals are submerged in highly structured formations.68 The design of the workers clothes in Metropolis hint at themes of oppression and tyranny. This can be further seen in films like Equilibrium (2003), where the inhabitants of the city of Libria wear saturated palettes of blue and grey clothing which lack individuality, due to the laws imposed by the fascist dictator named the Father. Black Panther on the other hand, showcases an eclectic mixture of costumes of various colours and designs. The fashion in the city is a mixture of contemporary and traditional African clothing. Innovative prints are met with familiar patterns. This wide range of costume designs isuggest a society which allows for individuality and isn’t greatly oppressed.“Both High Treason (1929) and Things to come (1936) depict societies through a simple cohesive fashion statement.”69 Drawing reference from the Tuareg, Mursi and Surma tribes of Africa costume designer Ruth E Carter emulated traditional African clothing in a futuristic sense. Arm and neck rings, lip plates and ornamental robs all act as instruments of individuality. In Metropolis old the upper class people can be seen extravagantly-garbed as they partake in sports activities above the ground.

FASHION IN THE CITY

“Closely linked to set design is costume, the idea of what future clothing and apparel might look like.” 64

64

Keith M Johnston, p. 15

65

John R Gold, p.338

66

Johnston, op cit., p. 15

67

Anton Kaes, p.148

68

Ibid., p.148

69

Johnston, op cit., p. 15

41

CHAPTER 9

CONCLUSION

42

CONCLUSION It seems counterintuitive that science fiction is characterised as being “a boundless field of possibilities competing to be materialized,” 70 yet an African sci-fi film like Black Panther was only released in 2018. Despite decades of sci-fi film production, it appears filmmakers have struggled in the past to fathom cities like Golden City. Before Black Panther, a plethora of films akin to Metropolis and Blade Runner dominated the industry with western ideals characterising the city. Aspects such class division, verticality and hierarchical structures of power greatly informed the character of the city. Black Panther challenges each of these aspects and in turn creates a new political, social and economic framework for non-western cities in sci-fi film.

The city is an amalgamation of technological, historical and architectural aspects of the urban landscape in sci-fi film. However, many writers such as Philip K. Dick “tend to conceive the future in the same terms as the past.” 71 This ultimately, limits the scope and breadth of the design of the city within the genre. On the contrary, the depiction of the city within science fiction film can also be used as a tool to communicate new ideologies by expressing imagery which may conflict with its past. This can be seen in the vibrant, flourishing and thought-provoking capital of Wakanda.

However, this is but one non-western sci-fi film amongst an ever-growing forest of western narratives. This apparent unworthiness of non-western futuristic cityscapes stems from an ideology that science fiction films should portray the leaders, wealthy and elites of society. Both Metropolis and Blade Runner relegate the poor to the subterranean depths of the city, rarely acknowledging their existence. This presents heavy levels of segregation, with the beneficiaries of society divorced from the underprivileged. If architecture is a representation of a community, 72 then the inhabitants play a very important role in depicting the city.

70

Lien Heidenreich and Sean O'Toole, p. 24.

71

Ibid., p.24

72 International Biennale of Architecture, Cities : architecture and society (Venezia : Marsilio , 2016), p. 64

43

Nevertheless, the success of this 200-million-dollar film and the depiction of the futuristic African city, has now placed Afrofuturism in the spotlight as an ever-growing force in design, architecture and fashion. 73 Golden City frees Africa from its colonial past and creates a new narrative for cities which challenges the western vision of the city in sci-fi film. Black Panther as a whole is a source of empowerment, hope and desire for a better future.

The platitudinous nature of western cityscapes in science fiction film has now birthed an interest in non-status quo city designs. In a statement at the African Futures Festival in Nairobi, Jim Chuchu asks “why Afrofuturism? Why isn’t there a brand of Asian futurism known as Sinofuturism?”74 How could Indian cities look in sci-fi film? How could New Delhi’s colonial past inform or obscure its design in science fiction films? In regard to differing futurisms Black Panther could be the catalyst to empower and warrant other types of futuristic non-western imagery of the city. Black Panther doesn’t only reimagine the city in sci-fi film but has now created a platform for other futuristic non-western city depictions within the genre. It can become the harbinger for a new cultural shift in sci-fi film and allow for non-Eurocentric depictions of the city to be more prevalent. “Wakanda will no longer watch from the s hadows” as sci-fi film is dominated by western depictions of the city and as a result, in the future Golden City’s depiction of the city in sci-fi film will be more impactful than a Vibranium meteor in Eastern Africa.

44

73

Amy Frearson

74

Lien Heidenreich and Sean O'Toole, p. 95.

Quote from T’Challa from the the final scenes of Black Panther

75

"Wakanda Forever"

45

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50

FILMOGRAPHY 2012, dir. by Roland Emmerich (Columbia Pictures, 2009) Alphaville, dir. by Jean-Luc Godard (Chaumiane Filmstudio, 1965) Black Panther, dir. by Ryan Coogler (Walt Disney Studios Motion Pictures, 2018) Blade Runner, dir. by Ridley Scott (Warner Bros, 1982) Blade Runner 2049, dir. by Denis Villeneuve (Ladd Company/Warner Bros, 2017) Cloud Atlas, dir. by Tom Tykwer, Lana Wachowski and Lilly Wachowski (Warner Bros/Focus Features, 2012) Dark City, dir. by Alex Proyas (New Line Cinema, 1998) Demolition Man, dir by Marco Brambilla (Silver Pictures, 1993) Dredd, dir. by Pete Travis (Entertainment Film Distributors, 2012) Equilibrium, dir. by Kurt Wimmer (Miramax, 2002) Fahrenheit 451, dir. Francois Truffaut (Anglo Enterprise Film Productions/Vineyard Productions 1966) Loganâ&#x20AC;&#x2122;s Run, dir. by Michael Anderson (United Artists, 1976) Metropolis, dir. by Fritz Lang (Parufamet, 1927) Minority Report, dir. by Steven Spielberg (Twentieth Century Fox, 2002) The Fifth Element, dir. by Luc Besson (Columbia Pictures/Gaumont, 1997) Things To Come, dir. by William Cameron Menzies (Les Films du Losange, 1936) TRON, dir. by Steven Lisberger (Walt Disney Studios Motion Pictures, 1982) TRON: Legacy, dir. by Joseph Kosinski (Walt Disney Studios Motion Pictures, 2010)

51

LIST OF ILLUSTRATIONS

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LIST OF ILLUSTRATIONS Front Cover - Collage of images from Black Panther, Blade Runner and Metropolis Author 2019 Fig. 1 Captain Kirk Holding a communicator in the original Star Trek series http://www.treknews.net/wp-content/uploads/2017/07/star-trek-tos-communicator.jpg [accessed 8 June 2019] Fig. 2 Minority Report: Washington in the year 2054 - Runtime 20:28 Fig. 3 The Diversity Gap in Sci-Fi & Fantasy Films infographic https://i1.wp.com/leeandlowbooks.files.wordpress.com/2014/08/scifi-movie-infographic-updated-8-25.jpg?ssl=1 [accessed 10 June 2019] Fig. 4 Will Smith: 6 out of 8 black protagonists Š Getty images https://ichef.bbci.co.uk/news/624/cpsprodpb/81A2/production/_101168133_will-smith-6.jpg [accessed 14 June 2019] Fig. 5 Jean-Michel Basquiat - Molasses https://i.pinimg.com/originals/ce/3e/81/ce3e81db6e80d8ef013de0e4eaf706e5.jpg [accessed 18 June 2019] Fig. 6 Wakanda as it appeared in Fantastic Four #52 in 1966 https://fsmedia.imgix.net/ff/6a/f5/0f/ef0d/463c/8328/53b40427aeda/wakanda-as-it-appeared-in-fantastic-four-52-in-1966.jpeg?auto=format%2Ccompress&dpr=2&w=650 [accessed 18 June 2019] Fig. 7 Black Panther in Marvel Comic https://media.comicbook.com/2019/01/black-panther-1155194-1280x0.jpeg [accessed 28 June 2019] Fig. 8 William Robinson Leigh - Visionary City https://i.pinimg.com/originals/e2/1d/c8/e21dc8cf2a64feabd5f51409b113145e.jpg [accessed 28 June 2019]

Fig. 9 Mega City One - Dredd https://milnersblog.files.wordpress.com/2012/07/mega-city-one-from-dredd-2012.jpg [accessed 4 July 2019] Fig. 10 Workers - Metropolis https://i.pinimg.com/originals/04/43/6f/04436f196532c644883342254f5ad287.png [accessed 4 July 2019] Fig. 11 Pleasure Gardens - Metropolis Runtime 9:04 Fig. 12 City of Metropolis - Metropolis https://i.pinimg.com/originals/b6/d4/11/b6d411dd22f66f0a43e8f2dbf076f470.jpg [accessed 4 July 2019] Fig. 13 Street in Blade Runner https://leftisminfilm.files.wordpress.com/2017/10/br4.png [accessed 4 July 2019] Fig. 14 Golden City - Black Panther Runtime 31.55 https://cdn.vox-cdn.com/thumbor/utW_4sK74bUAee8FM5VCYYLaMdc=/0x0:1132x597/1200x800/filters:focal(476x209:656x389)/cdn.vox-cdn.com/uploads/chorus_ image/image/58799015/0218_WI_APAFRO_02_sq.0.jpg [accessed 30 June 2019] Fig.15 Erik Killmonger fighting T'Challa in Mount Bashenga in Black Panther https://i1.wp.com/vfxvoice.com/wp-content/uploads/2018/06/PIX-5-vmb0080_comp_v0134.1187.jpg?resize=1000%2C563 [accessed 4 July 2019] Fig. 16 Erik Killmonger and T'Challa above ground after their battle - Black Panther Runtime 1:52:25

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Fig. 17 The city in Fifth Element https://3oneseven.com/wp-content/uploads/2011/02/5th-element-cab.jpg [accessed 4 July 2019] Fig. 18 Shuttle Bus of Wakanda https://cdn.vox-cdn.com/thumbor/utW_4sK74bUAee8FM5VCYYLaMdc=/0x0:1132x597/1200x800/filters:focal(476x209:656x389)/cdn.vox-cdn.com/uploads/chorus_ image/image/58799015/0218_WI_APAFRO_02_sq.0.jpg [accessed 4 July 2019] Fig. 21 Blade Runner has a dense vertical city https://cdn.vox-cdn.com/thumbor/jSiQ_kkNaTbMCQs9UL9sBE7xgIU=/0x0:3000x1255/1200x800/filters:focal(1470x326:1950x806)/cdn.vox-cdn.com/uploads/chorus_image/image/56902609/027_blade_runner_theredlist.0.jpg [accessed 4 July 2019] Fig. 22 Tyrell Corporation https://i.pinimg.com/originals/49/08/74/490874699eb15426ad4d21c4b7244c1e.jpg [accessed 4 July 2019] Fig. 23 Pieter Bruegel the Elder, The Tower of Babel, 1563 https://jhna.org/wp-content/uploads/2017/04/Kaminska6.2FI.jpg [accessed 3 July 2019] Fig. 24 Djinguereber Mosque in Timbuktu https://www.worldreligionnews.com/wp-content/uploads/2015/04/Timbuktu-Djinguereber-Mosque.jpg [accessed 5 April 2019] Fig. 25 Citadel Building - Black Panther Runtime 12:40 Fig. 26 New Tower of Babel https://thegenealogyofstyle.files.wordpress.com/2014/12/1262715150-metropolis17.jpg Fig. 27 Citadel Building interior https://vignette.wikia.nocookie.net/marvelcinematicuniverse/images/8/8c/BlackPanther_ILM_ITW_04A.jpg/revision/latest?cb=20190322192018 [accessed 4 July 2019] Fig 28 Workers walking underground in Metropolis https://i.pinimg.com/originals/dc/ae/35/dcae35d05e4423abb3a8ba38f6a2b24e.jpg [accessed 4 July 2019] Fig 29 The upper class of Metropolis Runtime 7:11 Fig 30 Bradbury Apartments https://i.pinimg.com/originals/cd/d7/fd/cdd7fd49f73f9ba7e465307d1df57887.jpg [accessed 4 July 2019] Fig 31 Blade Runner 2049 - Runtime 1:33:39 Las Vegas 2049 Š Alcon Entertainment https://pmcvariety.files.wordpress.com/2017/09/blade-runner-2049-4.jpg?w=1000 [accessed 30 June 2019] Fig.32 Star Wars: Episode IV - A New Hope - Runtime 24:44 https://nerdist.com/wp-content/uploads/2019/02/Tatooine-1200x676.jpg [accessed 30 June 2019] Fig. 33 Tron City https://i.pinimg.com/originals/c4/21/e0/c421e07a5fb91d28f3663f8de9f2675a.jpg [accessed 4 July 2019] Fig 34. Leisure gardens in Metropolis Runtime 9:04 Fig 35.

Blade Runner sky Opening scene of film Fig. 36 Hieronymus Bosch - The Garden of Earthly Delights (top of right panel) https://images-na.ssl-images-amazon.com/images/I/A1h3wRu249L.jpg [accessed 30 June 2019] Fig. 37 Black Panther Runtime 12:38

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