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peele's explanation for using redbone in his movie. phrase "stay woke" is pivotal for character development and overall theme

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Jordan Peele Explains Why Childish Gambino's "Redbone" Was Perfect For "Get Out"

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will use to expand my ideas on marginalization and how faulty or lack of representation results in double consciousness.

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Why Seeing Yourself Represented on Screen Is So Important

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"Black Panther" has been hailed as a model success story for depicting diversity on screen. According to past research, the representation of minority groups in mass media has a powerful educational impact on audiences.

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some textbook and informal definitions and some disparities between western society's tendency to view oneself as an individual unaffected by social/ systemic realities.

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What has become known as the "cult of individualism" has constructed people in the West in such a way that they find it very difficult to understand anything outside their own experience. They individualize situations rather than approach them with systemic analysis in mind (e.g., the preference for seeing racism as isolated, overt, or an extreme incident such as racial epithets, rather than an ongoing and often unintentional set of attitudes which lead to structures of domination). Individualism fosters a belief that everybody is free to choose, that their destiny is within their own control and that choice, determination, "pulling oneself up by one's boot straps," are all individually determined and ultimately achievable despite social, economic, racial and cultural circumstances.

"My schooling gave me no training in seeing myself as an oppressor, as an unfairly advantaged person, or as a participant in a damaged culture. I was taught to see myself as an individual whose moral state depended on her individual moral will" ( McIntosh, 1997, p. 292).

"Canadians have a deep attachment to the assumption that in a democratic society individuals are rewarded solely on the basis of their individual merit and that no one group is singled out for discrimination. Consistent with these liberal, democratic values is the assumption that physical differences such as skin colour are irrelevant in determining one's status. ... While lip service is paid to the need to ensure equality in a pluralistic society, most Canadian individuals, organizations, and institutions are far more committed to maintaining or increasing their own power" ( Henry & Tator, 2006, pp. 2-3).

Liberal Racism

There are several recognizable and frequently repeated strategies used in liberal racism that make anti-racism work difficult. Most of these strategies share common and overlapping processes: outright or masked denial, minimization, defensiveness and guilt. One such strategy is the Burden of Representation.

Representation and the "Burden of Representation"

The Burden of Representation manifests itself in the following ways:

1. One minority individual is assumed to represent his or her entire cultural/racial group, usually combined with the assumption that this individual/culture is 'traditional.'

2. A single creative (or critical) text (filmic, literary, etc.) is expected and assumed to represent an entire minority culture, or even to 'contain culture' (with culture vaguely defined but assumed to be 'traditional')

3. The expectation of dominant culture that minority groups or individuals 'teach' the dominant majority about the minority culture, the dominant culture's misperceptions and racism. [e.g. that Indigenous representatives should teach white people about all or specific Indigenous cultures and histories]

4. The expectation of dominant culture to receive affirmation from minority cultures that they are 'not racist' or to 'use' those in the less privileged position as proof they are not racist ("I have a friend who is ... therefore...")

From Ann Marie Baldonado, Fall 1996, "Representation" (with quotations from Shohat, 1995).

"Representations, then can never really be 'natural' depictions. ... Instead they are constructed images, images that need to be interrogated for their ideological content. ... If there is always an element of interpretation involved in representation, we must then note who may be doing the interpreting. Ella Shohat claims that we should constantly question representations:

Each filmic or academic utterance must be analyzed not only in terms of who represents but also in terms of who is being represented, for what purpose, at which historical moment, for which location, using which strategies, and in what tone of address." ( Shohat, 1995, p. 173)

This questioning is particularly important when the representation of the subaltern [or marginalized] is involved. The problem does not rest solely with the fact that often marginalized groups do not hold the 'power over representation' ( Shohat, 1995, p. 170); it rests also in the fact that representations of these groups are both flawed and few in numbers. Shohat asserts that dominant groups need not preoccupy themselves too much with being adequately represented. There are so many different representations of dominant groups that negative images are seen as only part of the 'natural diversity' of people. However, 'representation of an underrepresented group is necessarily within the hermeneutics of domination, overcharged with allegorical significance' ( Shohat, 1995, p. 170). The mass media tends to take representations of the subaltern [or marginalized] as allegorical, meaning that since representations of the marginalized are few, the few available are thought to be representative of all marginalized peoples. The few images are thought to be typical, sometimes not only of members of a particular minority group, but of all minorities in general.

"The denial of aesthetic representation to the subaltern has historically formed a corollary to the literal denial of economic, legal, and political representation. The struggle to 'speak for oneself' cannot be separated from a history of being spoken for, from the struggle to speak and be heard" ( Shohat, 1995, p. 173).

Strategies of Liberal Racism

There are several recognizable and frequently repeated strategies used in liberal racism that make anti-racism work difficult. Most of these strategies share common and overlapping processes: outright or masked denial, minimization, defensiveness and guilt.

Making invisible: Ignoring. Failing to recognize a person of colour or Indigenous person as a "regular" Canadian.

Claiming "reverse racism": This term is sometimes used to characterize anti-racism initiatives, affirmative action, or equity policies which are actually designed to rectify the results of institutionalized racism by setting guidelines and establishing procedures for findings qualified applicants from all segments of the population.

The term "reverse racism" is also sometimes used to characterize the mistreatment that individual whites may have experienced at the hands of people of colour. The inaccuracy here is that we should not confuse racial prejudice and other forms of mistreatment experienced by whites at the hands of people of colour with racism-the concentration of power and privilege in our society that leads to the systematic and institutionalized mistreatment of people of colour. ( Sherover-Marcuse, 1988, p. 2).

Fear of assertiveness: Hesitancy of white people to engage in confrontational or challenging dialogue with people of colour. The fear of making mistakes. Not holding people of colour as able. Fear of giving critical feedback to people of colour.

Denying differences: Comfort of white people with people of colour who talk and act most like white people, and who affirm dominant values by themselves minimizing the impact of racism.

Approval seeking: Being more "anti-racist" in the presence of people of colour. Wanting a pat on the back for positive action. "But special praise and rewards? For what? For recognizing people as equals and treating them like human beings?" ... Is applause due those white people who acknowledge [the existence of racism]? ... I'm sorry, but that's like giving a man the Nobel Peace Prize because he doesn't beat his wife" ( Burton, 1994, p. 2).

Assuming things are better: Failure to recognize the perceptions of people of colour about current racial inequity. The belief that racial oppression existed in the past, not today, or somewhere else, not here.

Comparing oppressions: Denying or minimizing the impact of racism by suggesting that some forms of oppression are worse than or analogous to others- "I'm more oppressed than you are." "As a woman, I identify with your oppression."

Colour-blindness: Premise is that sameness is a compliment. "I don't even think of you as Black." Espousing the liberal sentiment of "we're all the same under the skin."

Defining the other: Defining a person of colour and what their experience is. Inability to listen to and accept their experience.

Stereotyping: A fixed set of ideas often exaggerated and distorted. It is a mental picture which regards all members of a group as being the same. ( Collins, 2006, p.39)

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Liberal Racism - Alberta Civil Liberties Research Centre

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What has become known as the "cult of individualism" has constructed people in the West in such a way that they find it very difficult to understand anything outside their own experience.

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the real thing here. lets me read notes and intentions that might've been lost in the translation to acting.

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‘Get Out’ Video Essay Explores How Jordan Peele’s Film Challenges White Fragility

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‘Get Out’ Video Essay Explores How Jordan Peele’s Film Challenges White Fragility

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"The larger social environment still contributes to the racial isolation and protection of whites as a group in many ways, one of which is through movies," says the narrator.

A new video essay explores the role played by films such as Jordan Peele's acclaimed social horror-thriller " Get Out " in the portrayal of racial relations in America. The video, posted on the YouTube channel Like Stories of Old, starts by explaining the concept of "white fragility," a term coined in a academic paper written in 2011 by Dr. Robyn D'Angelo. It refers to "American white people living in social environments that protect and isolate them from race-based stress, providing them with racial comfort but also lowering their tolerance racial pressure."
READ MORE: Get Out' Exclusive Featurette: Jordan Peele on How He Made His Thriller Believably Suspenseful - Watch
"Get Out" follows the story of Chris (Daniel Kaluuya), a young black man who has been dating a white girl, Rose Armitage (Allison Williams), for five months. When Rose takes Chris to meet her parents (played by Catherine Keener and Bradley Whitford) - who seem totally normal at first - it isn't long before Chris starts to get creeped out by everything happening at the Armitage estate. In the middle of it all, Chris also wonders if these things are really happening or everything is simply a product of his own paranoia.
READ MORE: The 20 Best Horror Movies Of The 21st Century, From '28 Days Later' to 'Get Out'
According to the narrator, "the larger social environment still contributes to the racial isolation and protection of whites as a group in many ways, one of which is through movies." The essay presents Raoul Peck's documentary "I Am Not Your Negro" as another example, arguing that, like Peele's film, it "doesn't just address the more well-known forms of racism and racial prejudice, but also focuses on the more progressive, well-meaning liberal whites and how they contribute to silencing voices from people of color, leaving them trapped in the sunken place."

In a March 17 tweet, Peele explained that "The Sunken Place means we're marginalized. No matter how hard we scream, the system silences us." Watch the "Get Out" video essay below.
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'Get Out' Video Essay Explores How Jordan Peele's Film Challenges White Fragility - Watch

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"The larger social environment still contributes to the racial isolation and protection of whites as a group in many ways, one of which is through movies," says the narrator. A new video essay explores the role played by films such as Jordan Peele's acclaimed social horror-thriller " Get Out " in the portrayal of racial relations in America.

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this article focuses very specifically on the symbolic and emotional use of eyes in the film. The way the main character stares directly into the camera with stares of stone-cold fear obtains a huge deal of empathy from viewers. note:: look for more cinematic aspects.

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Jordan Peele's fantastic film relies heavily on the sense of sight to amplify its racial horror.

Universal Pictures

This post includes spoilers for the entirety of Get Out.
One of the most popular promotional images of the new horror-comedy film Get Out is that of a young black man staring straight at the camera. Little details stand out about him if you look long enough-he's wearing a gray hoodie and T-shirt, there's a slight crease on his forehead-but these are otherwise hard to really notice because of his eyes, which are wide and wet and red and give the unmistakable impression of a person frozen in pure, cold fear.

As the protagonist of Get Out, Chris Washington tells a great deal of the story using only his eyes. This is of course a testament to the excellent work of the actor, Daniel Kaluuya, who plays him. But it's also evidence of the film's subtle obsession with ways of seeing-whether through cameras or through (literally) different pairs of eyes. Part racial satire, Get Out follows Chris as he meets his girlfriend's parents for the first time at their secluded home far from the city. The girlfriend, Rose Armitage (played perfectly by Allison Williams), is white, and Chris is a little nervous about how her family will react despite her reassurances to him ("They're not racists. I would have told you"). Throughout the film, the director Jordan Peele uses the sense of sight to amplify imbalances of power and control-imbalances often drawn along racial lines.

Recommended Reading

Notably, Chris is a photographer, and apparently a very good and respected one. Get Out introduces viewers to him through his art: Before we even see Chris, we're shown black-and-white prints of his work on the walls of his Brooklyn apartment in a sequence set to Childish Gambino's "Redbone" (" Now don't you close your eyes ...). It's the kind of collection that could be reasonably described as "raw" and "honest," -unpretentious snapshots of New York streets and the diverse range of people who spend time there. The main plot quickly spins into motion as Chris and Rose set out on their trip, but in its first minutes Get Out has already established that Chris's profession-he is basically a trained observer-will be crucial to the rest of the story. What he notices, and doesn't notice, will take on a life-or-death importance.

Chris's job is an excuse for him to bring his trusty DSLR with him to the Armitage residence. Constantly slung around his neck, the camera functions as a kind of protective shield between Chris and the odd behavior he encounters-namely from the family's large group of white friends and neighbors, and their two black house-servants, Walter and Georgina. The camera simultaneously creates distance and closeness between Chris and his subjects; it's a way to both observe and to escape. It's through this lens that Chris manages to spot another black person (Lakeith Stanfield) at one of the Armitages' gatherings-but when Chris goes to introduce himself, the other man turns around with a glassy, far-off stare and introduces himself as Logan. From his eyes, it's immediately obvious something's wrong.

The trailer for Get Out hinted at one major way cameras might matter in the film. In one pivotal scene, Chris tries to take a photo of the oddly dressed Logan to send to his friend, who's worried for Chris's safety. But when the flash goes off it triggers a bizarre transformation: Logan's expression turns to fear, his nose begins to bleed, and he launches at Chris, screaming, "Get out!" It seems like an act of aggression, but Chris senses it's something else-it isn't until later that he understands Logan was trying to save him. It was hard not to watch that scene without thinking of how important camera phones and video recordings have been for many African Americans experiencing police violence-especially in light of an earlier scene in which Chris is the apparent target of racial profiling by an officer. Cameras, Get Out suggests somewhat plainly, have the power to reveal. It's no coincidence that photographic evidence later provides Chris with his biggest clues as he tries to uncover the Armitage family's secrets.

In many ways, Chris's camera is a mechanical extension of his own eyes. During the Armitages' big party, he wanders off with his camera and meets Jim Hudson, a white art dealer who is blind but who speaks glowingly of Chris's work. At that point in Get Out, the encounter offers relief: Jim doesn't seem quite like the other white people at the party, and Chris relaxes visibly in his presence after being ogled at and appraised by the Armitages' friends. His relative comfort comes in part from Jim's demeanor but also from Jim's inability to actually see Chris; as a result, the once-heightened difference of his race is diminished, if not fully erased. But like almost every moment of calm in the film, the scene is later revealed to be a big lie.

In the final harrowing act of Get Out, Chris has been hypnotized and strapped to a chair in the Armitages' basement. An old TV before him flickers on, and who else is there but Jim Hudson, lying in what looks like an operating room. Jim tells Chris the true nature of the mysterious process the Armitages are subjecting him to: transplantation. Tears fall from Chris's eyes as he realizes what must have been done to Logan, Georgina, and Walter, and what will soon be done to him-Jim's brain will be transplanted into his head, and Jim will take full control of his body, while Chris looks on from a corner of his consciousness. When Chris asks, "Why us? Why black people?" Jim scoffs, saying he couldn't care less what race Chris is. He has loftier, artistic reasons. "I want your eyes, man," Jim growls, in one of the film's creepier lines. "I want those things you see through."

It's a terrifying, revealing exchange in a film rife with terrifying, revealing exchanges. It is also of a piece with Get Out's broader social commentary, particularly its clear takedown of well-meaning white liberals and those who believe in a post-racial America. So, of course the man who wants to steal Chris's body from him is not only blind, but also "colorblind." He comes off as the kind of person who'd say he doesn't "see race" while caring very little about the wellbeing of black Americans.

But Jim wants something much more existentially fraught than Chris's artistic sensibility: He wants to possess the particular way that Chris views the world. I want those things you see through. In other words, I want to look at the world through your eyes. He wants to inhabit Chris's body for what he sees as its superior physical abilities. But it's hard to believe that Jim wants, or even fully grasps, any of the specific challenges or complexities that come with actually being black. To people like Jim, as Steven Thrasher noted in Esquire, "'black muscle' can be useful if separated from its black mind, emotions, and politics." And indeed, Get Out is broadly concerned with race and body politics, as others have thoughtfully written about.

Still, over the other bodily senses, vision has long been the most intuitive metaphor for discussing subjective experience. Just as the sense of touch is often evoked to discuss compassion or empathy ("I feel you"), vision is closely linked to a person's unique way of knowing the world. Peele himself has used the language of sight when discussing how he wanted Get Out to be an inclusive film: "You can ask a white person to see the world through the eyes of a black person for an hour and a half." It would seem a more casual word choice if not for how literally Get Out uses vision-via eyes or camera lens-to underscore Chris's very justified paranoia, discomfort, and fear in response to the story's white characters. Writing for The New Yorker, Richard Brody argued that, in radically portraying a world seen through a black man's eyes, Get Out also "contains some of the most piercing, painful point-of-view shots in the recent cinema."

There's much more to say about how Get Out continues or subverts the horror genre's tradition of weaponizing voyeurism and surveillance ( Cabin in the Woods, Saw, Scream, Psycho, and many others) or its preoccupation with cameras (the entire found-footage canon). But Get Out cleverly takes these tropes and uses them to unique, thought-provoking ends: to probe the very real anxieties produced by racism. Though the film is readily appreciated without deep analysis of its sight-related references, their effects are undeniably powerful-from the eerie stares of the Armitages' black victims to the hungry glare of Jim's eyes after he informs Chris of his fate. Get Out works perfectly well as a wildly entertaining scare-fest. But thanks to Peele's ingenuity it's also much, much more.

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unpretentious snapshots of new york streets

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The Meaning of Eyes and Cameras in 'Get Out'

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Jordan Peele's fantastic film relies heavily on the sense of sight to amplify its racial horror. This post includes spoilers for the entirety of Get Out . One of the most popular promotional images of the new horror-comedy film Get Out is that of a young black man staring straight at the camera.

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a little something more focused on the plot and method of this story rather than the actual content. comedic aspects might be peele's method of making his audience more susceptible to his messages.

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The 2018 Academy Award nominees include the racial horror movie "Get Out," the coming-of-age film "Lady Bird" and others. (Video: Nicki DeMarco/The Washington Post)

So much discussion around "Get Out" lately has been about how to categorize it. A horror? A thriller? A comedy, as it was classified at the Golden Globes?

"'Get Out' is a documentary," writer-director Jordan Peele tweeted. He can now tack on another descriptor: Oscar nominee for best picture.

Peele's first turn as writer-director also yielded him nominations for best director and best original screenplay. Daniel Kaluuya received a best actor nod for his portrayal of Chris, a young, black photographer meeting his white girlfriend's family in what becomes a nightmarish hellscape where racism is the central terror.

Oscar nominations 2018: Complete list

The Oscar nods make Peele the fifth black director ever to be up for an Oscar and the fourth black writer to be up for original screenplay. Here are some other ways "Get Out" is a remarkable Oscar contender:

Earliest release-date since 1991. "Get Out" premiered in February, way before the autumn-winter Oscars award season. No other movie with a release date that early has been nominated for best picture since 1991's "Silence of the Lambs."

It was marketed as a horror. That genre does not tend to fare well at the Oscars. "Silence of the Lambs" won best picture at the 1992 Academy Awards, and also took home the top actor, actress, screenplay and director prizes. "Sixth Sense" was nominated in 1999 and "The Exorcist" in 1973.

Incredibly profitable: Best picture nominees are not always known for being popular at the box office, but "Get Out" made for a paltry $4.5 million went on to gross $176 million domestically ($255 million worldwide). While fellow best-picture nominee "Dunkirk" grossed $188 million domestically ($526 million worldwide), the Christopher Nolan World War II drama cost $100 million to make.

Tied for highest Rotten Tomato score. Both "Get Out" and "Lady Bird" have a 99 percent Rotten Tomatoes critic score - the highest among best picture nominees.

Even before awards season, "Get Out" defied convention and broke records. Peele became the first African American writer-director with a feature that earned more than $100 million at the box office. "Get Out" had unusual staying power at the box office for horror, a genre in which movies tend to make a lot of money during opening weekend then drop off.

'Get Out' and Jordan Peele just made movie history

The content of the movie itself also breaks norms. Throughout interviews, Peele - a huge horror fan - has noted the scary movie trope of black men relegated to supporting characters and being among the first to die.

"I feel like our perspective and what we want from a horror movie is rarely represented," Peele told The Washington Post last year. "And I think what we want in a horror movie is somebody not to do some stupid s-, but instead to do the smart thing that any rational person would do once they figure out this heightened situation."

He has also pointed to the "final girl" convention. When watching a black man in a horror flick, Peele told the New York Times, he knows "It's just a matter of time until Tyrone walks away to smoke some weed or pee or something and gets macheted. It used to come right at that moment when you know everyone's going to die. But you definitely know the final girl is not going to be the black dude."

With "Get Out," he subverts that narrative: "Daniel [Kaluuya]'s the final girl."

Jordan Peele made a woke horror film

Before "Get Out," most people knew of Peele as one-half of the brilliant comedy duo "Key and Peele," which spent five seasons giving America zany and subversive sketches. The first feature film he wrote was "Keanu," in which he also starred alongside Keegan-Michael Key. The movie was a comedy about a drugpin's kitten.

Peele came up with the initial idea for "Get Out" long before his Comedy Central show, during former president Barack Obama's first presidential campaign. The idea persisted during Obama's presidency, which led to, as Peele describes it, America's "post-racial lie."

"There was a sentiment that we had a black president now, so racism is over," Peele told The Post in February. "It even felt like President Obama couldn't talk about race in a way that was satisfying."

Peele added, "As the last couple of years unfolded and the country got woke to a certain extent, the movie became less about identifying the fact that racism exists and much more about giving us a hero."

Review: Jordan Peele offers jump scares and scathing satire in directorial debut 'Get Out.'

He did not choose villains as "the typical red state type who is usually categorized as being racist," Peele said. "I wanted this film to explore the false sense of security one can have with the, sort of, New York liberal type."

The "Sunken Place," in the movie, serves as a method to terrorize. Beyond the movie, the "Sunken Place" has become a metaphor for being systematically silenced and marginalized.

After the Oscar nominations were announced Tuesday, Peele tweeted a now-iconicimage of Kaluuya from the movie.

In a later tweet, he added: "What is the opposite of the Sunken Place?"

pic.twitter.com/AfhT8aHJbN- Jordan Peele (@JordanPeele) January 23, 2018

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Analysis | 'Get Out' was a genre-bending hit. Here's why it's a remarkable Oscar contender.

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So much discussion around "Get Out" lately has been about how to categorize it. A horror? A thriller? A comedy, as it was classified at the Golden Globes? "'Get Out' is a documentary," writer-director Jordan Peele tweeted. He can now tack on another descriptor: Oscar nominee for best picture.

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why tf is this random shutterstock lady the poster for this? this is gonna be interesting after i watch the film a few more times and come back to see what peele was actually going for. artists have a huge scope of intention in their work that can be found in the tiniest details.

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Jordan Peele discovered halfway through the making of " Get Out " what story he wanted to tell: A horror-thriller for black audiences that delivered a searing satirical critique of systemic racism.

"The writing of (' Get Out') started with me starting to make my favorite horror-thriller that's never been made before," Peele said Wednesday during a keynote conversation at Variety's Inclusion Summit. "Halfway through writing the project is when I realized what it was actually about."

Moderated by Variety chief film critic Peter Debruge, the conversation focused on how Peele approached the making of his first feature film. Before "Get Out," Peele was known as a comic, a sketch artist from his time on Comedy Central's "Key and Peele."

Peele said he wanted to make a film for black audiences, who gravitate toward horror films but often are frustrated with unrealistic decisions made by lead characters. Using "The Amityville Horror" as an example, Peele said the white family remained in the house despite suspicions it was haunted. A black family, he said, would have been long gone at the first sign of spookiness.

"The black audience goes to watch horror-thriller and we are usually very vocal about not getting the movie that we want," Peele said.

But it wasn't a supernatural force, nor a knife-wielding serial killer that would provide the most scares in "Get Out." The film's monster is systemic racism, in this case portrayed through the white characters.

"You find the insidious qualities that white liberals have," Peele said. "The gut punch of the movie is ultimately meant to say that racism is a human problem and the 'woke' people know not to call themselves 'woke.'"

The "sunken place" that the lead character falls into when he's under hypnosis, Peele said, was a metaphor. It's "this state of marginalization that I've never really quite had a word for," he said. "The sunken place is the prison-industrial complex, it's the dark hole we throw black people in."

The metaphor also extends to the multiplex. "The sunken place is the theater that black people are relegated to watching horror movies on the screen. We can scream at the screen but we're not going to get represented on the other side," he said.

Speaking more broadly about the success of films featuring previously untold stories - like "Hidden Figures," which told the story of the black women integral to the U.S. space program - Peele said the common thread was freshness.

"Time and time again you realize that the more truth you're hitting on that people haven't seen put in this way, the more successful it is," he said.

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Jordan Peele on How He Tackled Systemic Racism as Horror in 'Get Out'

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Jordan Peele discovered halfway through the making of " Get Out " what story he wanted to tell: A horror-thriller for black audiences that delivered a searing satirical critique of systemic racism. "The writing of (' Get Out') started with me starting to make my favorite horror-thriller that's never been made before," Peele said Wednesday during a keynote conversation at Variety's Inclusion Summit.

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I know that this movie is hella full of symbols and references both historical and related to pop culture. this will help me see some things that i wasn't able to identify in the film. you can only process so much out of a frame.

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Get Out Explained: Symbols, Satire & Social Horror

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to help me understand the levels of unpacking that need to be done here.  how to override cognitive dissonance from seeing yourself as a racist perpetrator. do other groups deemed dangerous get this type of treatment??(like do we coddle them so they listen??)

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How Get Out deconstructs racism for white people