Counterpoints about decolonial theory

in search of what was denied to the black man

Abstract

This article examines the contribution of the conceptual category and pedagogical dimension of Black cinema to decolonial theory. The discussion addresses the theoretical foundations of modernity, the process of epistemic colonization, and its implications for the ontology of colonized subjects. Black cinema is understood as oriented toward the positive affirmation of African descendants as a historically minoritized majority, challenging the Euro-heteronormative imagetic hegemony that sustains racial and symbolic hierarchies. The study emphasizes the re-signification of gazes and narratives as central to antiracist practices, positioning Black cinema as both a pedagogical and political space. From a decolonial perspective, the article also highlights hope as a collective practice that emerges from everyday, educational, and community contexts, contributing to processes aimed at disrupting the subalternization of peoples and cultures.