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This article explores the “troubling antinomies” of the 2018 film Black Panther and its entanglements with the collective fantasies of the West—and those of international lawyers and development technocrats in particular—through its reliance on the “lost world” genre, as typified by H. Rider Haggard’s King Solomon’s Mines and John Buchan’s Prester John. The article then situates these troubling antinomies within the tradition of Black Internationalism and the novels of Pauline Hopkins, George S. Schuyler, and Peter Abrahams as practices of “poetic revolt.” Doing so, it is argued, reveals much about the conditions of possibility of the “development frame” and international law, their shared “White Mythology,” and their ongoing entanglements with history, racial capitalism, and the discourse of technology

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