Page - 144 - in JRFM - Journal Religion Film Media, Volume 03/01

144 | Ken Derry et al. www.jrfm.eu 2017, 3/1, 123–155 body raises questions about how the United states sees itself concerning Black bodies. Does the United states understand itself to be impenetrable like Luke because of its military power? Does fear within the psyche of the white gaze perpetuate police brutality, harsh punishment, and the disproportionate impris- onment of Black bodies in the prison-industrial-complex due to false concep- tions of the Black body? Who is the monster? in The Future of Ethics, Willis Jenkins articulates the ways in which the earth is connected to women’s bodies.54 in particular, Jenkins evokes Womanist voices to demonstrate how earth’s vulnerability relates to the vulnerability of women. the penetrable bodies of women in Luke Cage (2016) – of Candace, Mariah, and Misty’s cousin – contrast with Luke’s normally impenetrable male body. When Luke too is pierced, his insides ravaged by the Judas bullets, this gender distinc- tion breaks down somewhat. Jenkins also helps us to go beyond the binary of female/male, as well as that of human/non-human, considering all those who are susceptible to harm. in this regard we remember that the United states continues to assert its imperial self not only through patriarchy and racism, not only through war and colonialism, but also through fracking, polluting, razing, and drilling. What is Luke’s response to his tragic condition and paradoxical self? he an- swers the niggerization imposed on his body like emmett till’s mother, who responded to the murder of her 14-year-old son by saying, “i don’t have a min- ute to hate. I’ll pursue justice for the rest of my life.”55 Out of love, Baldwin tells his nephew that he does not have to confine himself to the definitions of the white world. With these two formulations, we may understand Luke Cage’s pursuing love and justice as a response to the various cages in which he exists. When Luke chooses his name, he quotes Luke 4:18 (e04), a central text in Black theology. in regards to Luke 4:18, Cone says, “Jesus’ work is essentially one of liberation.”56 Like the Jesus of Black Liberation theology, Luke Cage is anointed to bring liberty to the oppressed. As Jesus enters the human condition of those who experience systemic violence, Luke steps into the experience of those who are economically exploited, those who encounter police brutality, and those who encounter gang violence. When two police officers stop Luke, many viewers may have people in mind like sandra Bland, tamir rice, renisha McBride, trayvon Martin, Mike Brown, and many others. Police inquiries have resulted in the deaths of too many Black and Brown people in the United states. however, the scene presents liberative tones when the bullets bounce off Luke (E07). This scene is very similar to Kend- rick Lamar’s music video Alright (Colin tilley, Us 2015), where Kendrick’s body 54 Jenkins 2013. 55 West 2004, 21. 56 Cone 1997 [1969], 35.