Get Out- Interracial/Horror Film(Hidden truths)

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Jordan Peele’s directorial debut Get Out proves a fascinating engagement with the racial truths of the contemporary world. The film centers on interracial couple Chris and Rose who are traveling to meet Rose’s parents in a New York City Suburb.

Prior to their visit, Chris asks Rose if she told her parents that he is black. Rose makes a mockery of this query, a query that encompasses the film’s many acts of foreshadow and dramatic irony. Get Out proceeds to illustrate that it is Chris’ blackness that makes him Rose’s prey. The couple’s visit to meet Rose’s parents proves a sick and calculated effort to abduct black bodies and re-appropriate them as a means to enhance the lives of a white counterpart. In short, the film’s resonance lies not in the images themselves but what lies beneath.

1.White Liberal

One of the most demonstrative illustrations in the film is its portrayal of the “white liberal.” Rose, Chris’s girlfriend not only dates a black man but defends him in the face of overt discrimination. Chris is racially profiled by a police officer on the way to meet Rose’s parents. The policeman asks Chris for his identification, to which they receive Rose’s wrath. After the incident, she states that she won’t let anyone “F%ck with her man.” But little does Chris know, Rose is merely protecting Chris the object and not Chris the person. This objectification becomes clear in the silent auction that takes place in Rose’s parent’s garden. What they disguise as “Bingo” is an auction where interested white buyers place bids for the black body Rose brings home. So questions like “Is it better?” referencing black male sexual performance, is the query of a prospective buyer desiring a worthy investment.

Rose portrays a physical embodiment to the phrase “every shut eye ain’t sleep and every goodbye ain’t gone.” An assumed ally can very well bear oppressive feelings towards a marginalized body. Assumed allies often veil self-interest in seemingly supportive gestures. Namely, Rose does not verbalize her prejudices yet is not any different or better than her parents or their “garden party” guests.

2. The Poisonous Apple

Get Out depicts Chris, a black man,  as an Eve-like figure and Rose, a white woman, as the poisonous apple that exploits his vulnerabilities and renders a series of irreversible consequences. The film intertwines physical hypnosis to induce black acquiescence to a  new identity. Rose acts as a form of hypnosis in her pursuit and pseudo-love for the black male. In seeking to consummate white acceptance and assimilation in his romantic relations with white women,  the black male body enters a vulnerable state exploited by his “prize.” Thus, Rose uses her external appeal to sink her thorns deep into the black male psyche. Just as their love seems to bloom, it is not Rose who dies, but her black lover–illustrating the measure of a rose’s beauty is the ability to distract admirers from its thorns sinking into their flesh.

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3. Science and black experimentation

The Armitage family abducts blacks, hypnotizes them, and uses the black body to improve white quality of life. The procedure leaves a small portion of the black brain but replaces the majority with a white brain. Thus, the black person becomes “a passenger” in his own body. This procedure seems synonymous to the abduction of African bodies and displacing them onto indigenous soil. This displacement renders the black body a passenger in the western experience as each generation proves more distant relationship to their African origins. While the African brain may not be physically extracted, it becomes westernized so that descendants of abducted Africans feel more American than African–making the black body a commuter in their own oppression.

Interestingly, upon first meeting, Chris and Rose disclose that they hit a deer on their way up. In response, Rose’s father remarks that they “did a service” by hitting and ultimately killing the deer. It is this same ideology that prompts the white conservative to seek out black bodies to dismember for their own personal benefit. In their minds, the Armitage family does a service to blacks abducted for their procedure, as their procedure affords the black body a purpose believed to not exist outside of serving whites. Prior to preparing Chris for the procedure, Mr. Armitage asks him “What is your purpose, Chris?” To pose this question prior to their intended procedure suggests that their use of his body incites a purpose otherwise non-existent.

It is this same ideology that prompted white doctors and scientists to use black bodies to test out medical procedures. Henrietta Lacks’ doctor felt entitled to the contents of her vagina, so much so that he did not even consult her next of kin prior to abducting her cells. The pearl-like substances that killed her would acquire purpose in the lives Lacks would come to save following her death. Thus, just as the Armitage family deems the black body purposeful in servicing whites,  Henrietta Lacks’ story similarly illustrates the black body as purposeful solely when appropriated for western motives.

Slavery and the contemporary world implement a similar ideology as the most celebrated black figures: athletes, entertainers, and actresses all serve whites. Thus, the television, radio and even the education system all act as an informal hypnosis implemented as a means to control black bodies and place them on a dead end path to white servitude.

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4. The unassumed intellect

Get Out channels Charles Chestnut’s “The Goophered Grapevine” and “Dave’s Neckliss” in illustrating the unassumed intellect in Chris’ TSA friend, Rod Williams. For those unfamiliar with Chestnut or these stories, a prevalent style of Chestnut is to implement a character who due to their vernacular speech prompts most to assume that he is intellectually deficient. The unassumed intellect uses these preconceived notions to his advantage and deceives his “intelligent” counterparts by the story’s conclusion.

Similarly, Williams provides comedic relief to audiences in his delivery. Yet the dramatic irony evokes laughter from some and frustration from others as audiences know that Williams is the sole party in the film that knows the truth. This depiction functions positively, as it evokes a caricatured black image as a means to exploit presumed western conceptualizing of black intellect. In a perfect world, caricatured imaging of blacks would disappear completely. However, it is an act of advancement to include stereotypes in a way that prompts contemplation, or that performs in a way to challenge western predilection for the compartmentalized black body.

The Final Verdict

The most resounding part of the film for me is when the black male body reappropriated as the Artimage grandfather, snaps out of his hypnosis and not only shoots Rose but shoots himself. This depiction illustrates black detachment from a controlled identity as a necessary component to disabling mental enslavement. Furthermore,  blacks not only have to rid themselves from physical obstacles but the part of ourselves that encompasses these harmful ideologies.

My least favorite component of the film was the means in which the hypnotized black body reverts back to semi-consciousness. Although the black body is held hostage by a white brain, it a flash or white light that snaps them back into consciousness. Thus, although it is a black man who physically saves himself from his pending imprisonment–it is a stroke of white light that enables his escape.

Thus, while seemingly a cautionary tale to interracial dating, or to the black body trusting whites in any capacity–the film evokes a white savior in representation rather than form. At surface level, the film seems to evoke the separatist ideology implemented by civil rights leaders like the late Malcolm X. However, the authorship of said movie makes this close reading impossible to take seriously. For this reason, Get Out reminds me a lot of Birth of Nation.

After viewing both Birth of a Nation and Get Out, I left the theater somewhat content. These feelings faded almost instantaneously as I realized that these movies while depicting the complexities of the historical and contemporary black experience can only resonate but so deeply. Namely, both Peele and Parker write and produce movies that should be revolutionary, but are not.

Jordan Peele and Nate Parker both conclude their films in the same manner. Specifically,   Birth of a Nation and Get Out end with all central white characters are murdered by blacks. While fatalities at the hands of blacks substantiate black bestiality, it also functions to depict white bodies as factors that must be eliminated to free blacks from an oppressive state. Like Birth of a Nation, Get Out is authored and directed by a black male married to a white woman. This dynamic casts said black authors as significantly less harmful and least likely to actually eliminate the white demographic because to do so would be to not only murder their wives but the mother of their children. Furthermore, with their interracial unions, the black male writer and director assumes a non-threatening stance in which the murder of fictive white characters seems an artistic choice rather than a means to uplift the black collective.

While the western world attaches a taboo labeling to interracial unions, these unions function favorably to foment white supremacy. The strongest black leaders are strong not because of what they say but because of what they do. Thus, these films are noteworthy, not revolutionary, as it is not enough to implement images that suggest an ideology disconnected from the thought and action of the author.

Writer and producer Jordan Peele also complicates the ability to take Get Out seriously with his comedic background. Thus, his depiction of a white family who abducts blacks and uses their bodies for their own benefit—becomes a well-executed joke rather than reflective of a past and present horror not limited to a New York City suburb.

Article by C.C. Saunders

 

What do Jesse Williams and Colin Kaepernick really have in common?

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Colin Rand Kaepernick was born on November 3rd, 1987 in Milwaukee, Wisconsin. His mother, Heidi Zabransky Russo, gave birth to him when she was 19 and living in poverty. Colin’s father, an African-American man, was not in his mother’s life when he was born.
After Heidi gave Colin up for adoption, he was placed with Rick and Teresa Kaepernick, who had previously lost two sons due to their children’s heart defects. And until age four Colin lived in Wisconsin, until the family relocated to Turlock, California.
After Colin’s family settled down in Turlock, he began playing youth football at age 8. By age 9, Colin was the team’s quarterback. Once he was in high school, Colin excelled academically and athletically. He maintained a 4.0 GPA and was nominated for all-state citations in football, baseball and basketball in his senior year. After receiving an athletic scholarship from the University of Nevada, Colin began excelling amongst his sporting collegiate peers.
Colin earned the Western Athletic Conference’s (WAC) Freshman of the Year award, and as a sophomore, became the fifth player in NCAA history to pass for 2,000 yards and to rush for over 1,000 yards in a single season. Colin graduated from Nevada University in 2010, with a bachelor’s degree in business management. And while attending college, he became a member of the ‘Kappa Alpha Psi’ fraternity. And I’ll tell you why that’s important later.

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Fast forward to April 29th, 2011. On this date, the San Francisco 49ers selected Colin in that year’s NFL Draft season.
And in August 26th, of this year, before a preseason game against the Green Bay Packers, Colin refused to stand for America’s National Anthem. During a post-game interview, he was asked why he didn’t stand, and stated: “I am not going to stand up to show pride in a flag for a country that oppresses Black people and people of color. To me, this is bigger than football and it would be selfish on my part to look the other way. There are bodies in the street and people getting paid leave and (are) getting away with murder.”
And in keeping with this theme, on July 4th of this year, I wrote about the actor Jesse Williams and the infamous speech he gave at the 2016 BET Awards. And anyone who remembers Jesse’s speech, can pretty much recognize how his sentiments were the same as Colin’s.
So it seems like a new breed of Black Nationalist has come to the fore. Cause as more of these half-bred, olive-skinned Black men talk like revolutionaries, the more I hear spokespersons for the Black ‘conscious’ community say these types of brothas can get this message out better than a ‘pure-bred’ Black person can. And this is due mostly to their skin color. Cause not only will brainwashed Black people be more receptive to their message because of their complexions, but non-Blacks will as well.
But before we accept these ultra-light, latte-skinned brothas as the new pro-Black vanguard, I’d like to give you the straight dope on who they’re really reppin’…
Now, if you’re a Black man or woman reading this, you should already know that celebrity is a white fascist construct used as a means of population control. Period. So when stars sing, dance, act, excel at sports, etc., this is just the medium for their brainwashing message.

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So what does that mean in regards to Jesse and Colin’s messages?
Well, to clarify that, let’s fit their diatribes into the context of the white fascist agenda.
Now, the white elite want contemporary Black men to be either one of two things: One, a homosexual. Or two, a man who’s married, mating and having children with a non-Black woman. And if you’re in the latter category, white elites know your offspring will have less of the genetic power that you, a pure-bred Black man, already has to breed them out of existence. And I’ll state again, as I’m writing this, white birth rates have been falling below replacement levels for more than a quarter century.
So long story short, Colin and Jesse have been tasked to convince Black America that the realest Black power, is in being half-white.
Now you might be pursuing your lips and thinking, bruh—that’s more of that conspiracy theory non-sense…besides, why the hell would white fascists choose an actor and an athlete to get out that message?
Well, one very telling clue is in Colin’s fraternal affiliations. Remember I told you that Colin was a member of ‘Kappa Alpha Psi’? Welp, I did a little digging into who other members of that frat were, and these are just a few of the names I came up with…

Cedric ‘The Entertainer’ Kyles John Singleton—movie director of ‘Boyz n’ the Hood’, ‘Rosewood’ Sam Greenlee—novelist who wrote ‘The Spook Who Sat by The Door’ Tavis Smiley-TV show and radio host Lawrence Brownlee—Opera singer Montel Jordan—R&B Singer (song:‘This is how we do it’) Marvin Sapp—Gospel singer Tom Bradley—Mayor of Los Angeles Michael B. Coleman—Mayor of Columbus, Ohio

Adrian Fenty—Former Mayor of Washington D.C. Johnnie Cochran—Defense attorney (Yes, O.J.’s lawyer) Eddie Long—Pastor of New Birth Missionary Church Wilt Chamberlain—NBA Hall of fame player Archie Alexander—Governor of the U.S. Virgin Islands

But the names that struck me most were these two: Reginald Lewis and Robert L. Johnson. Here’s why…

I remember reading about Reginald Lewis in his autobiography, ‘Why Should White Guys Have All the Fun?’ He was the Black man who held the title of CEO of TLC Beatrice International. And this was the first Black-owned company to have more than a billion dollars in sales. After I finished that book, I beamed with pride at how Reggie overcame so many obstacles to accomplish what was pretty much a superhuman feat in the business world. Cause a Black man in America was never supposed to be able to manage that successful a business. I still hold his accomplishments in the highest regards, but now I see how his fraternity helped him maintain his business without white fascists destroying it. However, Reggie did die of a sudden brain ailment. Just like Johnnie Cochran and Khalid Muhammad. Coincidence?
Robert L. Johnson, who founded Black Entertainment Television (BET), is noted as becoming America’s first Black billionaire. And a few years back, I remembered hearing he was the only Black member of a hyper-exclusive investment firm called the ‘Vanguard Group’. This firm is the largest provider of mutual funds in the world, and it manages 3 trillion dollars in assets. And while doing some research on this company, I noticed its Wikipedia page held a link for an ‘anarchist’ political group, who also used the name Vanguard. This isn’t coincidental, and let me explain why…
Now, for those who are unfamiliar with the anarchist’s philosophy, let me give you a bit of a primer as to what this actually means.

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‘Ordo Ab Chao’ is a motto followed by white fascist freemasons at the 33rd degree level. And this is said to be the highest level of freemasonry, but there’s actually a 33 and a third degree level reserved for the most elitist white masons. Now, this motto is a latin term meaning ‘Order out of Chaos’. So what that means is simply this, in order to control any organism or organization, its best to destabilize the intended target, by throwing it into a state of chaos. (Look up the ‘Hegelian Dialect’ sometimes)
Case in point, several years ago, I was in a 7-11, and after I told a white clerk that they were out of coffee cups, he got pissed and walked off in a huff to get them. After he got the cups, he made a gesture towards the soda fountains and asked: “I wonder why the smaller drinks are more expensive that the larger ones.” To which I replied: “Well, call up your regional manager and ask them.” Now, telling me that he recognized this was his feeble attempt at showing me he was supposedly smarter than I was. But unlike him, I understood why the smaller sized sodas were more expensive that the larger ones. I just didn’t want to tell him right then, cause I only wanted my coffee so I could get the hell outta’ there. 
But, what this inbred failed to realize is, the larger sodas are less expensive ‘cause white fascists running the medical industry know that the increased sugar content in them will get the working classes sicker. Thus, they’ll make more money. See, these trailer park types don’t want to think their people are as intrinsically wicked as they are, ‘cause that would reflect badly on them. It’s bad enough this clerk was a nearly middle-aged white guy working at a 7-11. And I’m always mystified when I see a poor white guy in America. I’m like, how the hell does that happen?
But back to Colin and Jesse…
Black men especially should take note that Barack Obama, Jesse Williams and Colin, all have white mothers. From this, elites are telling us directly that we should be with white women. Cause remember, as Black men, we’ll always be more of a threat to white fascism cause not only do we have the most genetic power to breed whites out of existence, but the elites know that the nature of a woman, especially our women, is to seek out some sort of security or stability. So 9 out of 10 times, they’ll conform to the white fascist status quo. 
Now, putting this into the context of Colin and Jesse’s messages, says they’re white fascist freemasons who are intent on keeping the Black family destabilized. And they intend to do this by influencing Black men and women to date, marry and procreate with anyone but another ‘pure-bred’ Black man or woman. So they too can produce another militant, half-bred celebrity…like Jesse and Colin.
So if you’re a Black man or woman reading this, a Black man especially, and you’re thinking that Colin and Jesse are really down for the Black Diaspora, you now know the game they’re running on us for their white fascist handlers. And as a Black man or woman, you should understand why it’s imperative that we choose a right-thinking Black person to date, marry and procreate with. Cause every aspect of the white fascist social order is fighting against the birth of ‘pure-bred’ Black children. Ya’ know, the ones who’ll have the most power to breed their white asses out of existence.

Article written by MontUHURU Mimia