Abstract

Introduction In the contemporary era, particularly following the advent of post-structuralism, postcolonialism has emerged as a significant critical approach in the study of art and literature. This theoretical framework provides essential tools for analyzing the power dynamics between the colonizer and the colonized, extending beyond political domination to encompass cultural and psychological spheres. Postcolonial cinema, as a subset of multicultural cinema, serves as a vital medium for reflecting these conflicts. In these cinematic works, the struggle is not merely between man and nature or man and himself, but rather a profound confrontation between the "colonizing culture" and the "colonized culture." The dominant culture often perceives itself as superior and rational, while portraying the marginalized culture as inferior, emotional, or primitive. While postcolonial theory has been extensively explored in the context of Iranian cinema and literature, there is a notable research gap in Persian academic studies concerning the representation of Black identity in contemporary American cinema through this specific lens. The present study seeks to address this gap by examining how legacy colonial structures are rearticulated in modern Hollywood. Specifically, this research aims to define the concepts of colonialism and postcolonialism, examine the impacts of domination on the culture and art of subjugated societies, and analyze the application of this approach in cinema with a focus on Frantz Fanon’s theories. To this end, the film American Fiction (2023), directed by Cord Jefferson, is selected as a case study. This film offers a multi-layered exploration of race, identity, and the commodification of Black trauma, making it an ideal subject for postcolonial critique.

Methodology This study employs a qualitative, descriptive-analytical methodology to investigate the construction of Black identity in American Fiction. The research data was collected through library-based studies, encompassing a wide range of primary and secondary sources in the domain of postcolonial theory, cultural studies, and film criticism. The theoretical core of the research is built upon the works of Frantz Fanon, particularly The Wretched of the Earth. The analysis proceeds by first establishing the theoretical elements of postcolonialism—such as othering, mummification of culture, and the three stages of the native intellectual—and then systematically locating and interpreting these elements within the narrative and visual structure of the selected film.

Theoretical Framework The theoretical framework of this research is anchored in Postcolonial Studies, a field that examines the enduring effects of European colonization on global cultures. A central concept in this domain is "Blackness" (Négritude), which emerged during the Harlem Renaissance as a reaction against Western racism; however, this concept has been debated, and later critics and writers shifted towards a social constructionist view, arguing that "Blackness" is constructed by the dominant white culture to define itself via binary oppositions. Frantz Fanon, a pivotal figure in this discourse, critiques the essentialist notion of Négritude in The Wretched of the Earth (1961). He argues that attributing identical characteristics to all Black people serves a hegemonic purpose, imposing a monolithic identity that ignores national and individual differences. Fanon emphasizes that culture is primarily national, not racial. A key contribution of Fanon utilized in this study is his delineation of the "Three Stages of the Native Intellectual":

1. The Assimilation Phase: The native intellectual proves they have assimilated the culture of the occupying power. Their works correspond point by point with those of their metropolitan counterparts.

2. The Return to the Source: The native intellectual, realizing the alienation of the first phase, decides to remember who they are. However, since they are not fully integrated with their people, this return is often limited to romanticizing past legends and childhood memories.

3. The Fighting Phase: The intellectual turns into an awakener of the people, producing revolutionary and national literature that fights for liberation.

Furthermore, Fanon introduces the concept of the "Mummification of Culture." He argues that colonialism does not seek to destroy the native culture entirely but to freeze it in a state of decay. The native culture becomes closed, rigid, and trapped in colonial regulations, leading to the mummification of individual thinking. This results in stereotypes where the colonizer claims, "I know them; they are all the same." The study also incorporates the concept of "Othering" (derived from Said and Fanon), where the dominant group constructs a "Self" by defining a "Other" as deviant or inferior. In cinema, this manifests through stereotyping, ghettoization, and silencing. Additionally, Homi Bhabha’s concept of "Mimicry" is employed to analyze how the colonized might adopt the colonizer’s discourse to disrupt its authority, creating a slippage that reveals the artificiality of colonial power, alongside contemporary media frameworks that critique "genre ghettos" and the commercial commodification of Black cultural production.

Discussion and Analysis The analysis of American Fiction reveals a profound engagement with these postcolonial themes. The film follows Thelonious "Monk" Ellison, a Black professor and writer whose complex, intellectual novels are rejected by publishers for not being "Black enough."

• Othering and Stereotyping: The film opens with Monk being reprimanded for using the "N-word" in an academic context, highlighting how his intellectual authority is dismissed by the superficial sensitivities of the white dominant culture. This "Othering" is institutionalized in the publishing industry. Monk’s works are ignored, while a book titled We’s Lives in Da Ghetto by Sintara Golden receives acclaim. This contrast illustrates Fanon’s concept of "Mummification." The industry demands a static, stereotypical image of Black life characterized by poverty, violence, and broken families. This is what the film identifies as "Trauma Porn"—the commodification of Black suffering for the consumption of white audiences who seek to alleviate their guilt without addressing systemic racism.

• Assimilation vs. Reality: The film deconstructs these stereotypes by portraying Monk’s family. Contrary to the "Ghetto" narrative, the Ellisons are an upper-middle-class family of doctors. They deal with universal human issues like Alzheimer’s, divorce, and suicide, rather than gang violence. This portrayal challenges the "homogenization of the Black experience" and highlights "Intersectionality," particularly through the character of Cliff, Monk’s brother, who navigates his identity as a gay Black man.

• Erasure of Agency and The White Savior: The publishers and film producers in the movie represent the "colonial gaze." They strip Black authors of their creative agency, forcing them to perform a specific type of "Blackness" that validates white superiority. They act as "White Saviors" who patronizingly champion these trauma narratives, believing they are giving voice to the voiceless, while actually perpetuating silence.

• Mimicry as Resistance: In a Fanonian twist, Monk enters a phase that blends elements of Fanon’s stages with Bhabha’s "Mimicry." Frustrated by his rejection, he writes a satirical novel titled My Pafology under the pseudonym "Stagg R. Leigh," intentionally filling it with every offensive stereotype expected by the market. He mimics the colonial discourse to expose its absurdity. However, the irony lies in the system’s response: the white gatekeepers fail to see the satire and embrace the book as a "raw and authentic" masterpiece. This demonstrates the "inescapability" of the colonial frame; even the most radical critique is swallowed and commodified by the market.

Conclusion The study concludes that American Fiction serves as a potent postcolonial text that critiques the modern mechanisms of cultural colonization. By applying Fanon’s theories in conjunction with recent media critiques, it becomes evident that the "colonial gaze" has not disappeared but has shifted from overt domination to subtle cultural control and market commodification. The film illustrates that the "Mummification of Culture" persists in the form of market demands that freeze Black identity into profitable stereotypes of trauma and victimhood. Monk’s journey reflects the struggle of the native intellectual who refuses the "Assimilation Phase" but finds the "Fighting Phase" complicated by a system that monetizes resistance. The film’s ambiguous ending—offering multiple potential conclusions ranging from romantic to tragic—signifies a refusal of easy redemption. It suggests that individual acts of subversion, like Monk’s satire, may be insufficient against the systemic nature of racism woven into cultural institutions. Ultimately, American Fiction does not provide a solution but forces the audience to confront their own complicity in consuming reductive narratives, validating Fanon’s assertion that true liberation requires not just political independence but the decolonization of the mind and culture.