University of California Los Angeles Get out As a Film in Horror Category Analysis please see the essay instruction and i choose option A to write my essay

University of California Los Angeles Get out As a Film in Horror Category Analysis please see the essay instruction and i choose option A to write my essay and also see my past assignments and past analyze assignment on the movie “get out”. The movie I CHOOSE IS , ***“Get out” takes a multi-layered approach towards addressing racism. The script as well as the filmmaking uses subtle tricks to address large issues, Humanities Analysis Worksheet #2
Quote from Primary Source
Text (cite pg #)
Literary or writing
technique author used
Meaning Statement
related to quote
Dean: You know what I say?
I say one down, a couple
hundred thousand to go. I
don’t mean to get on my
high horse, but I’m telling
you I do not like the fucking
deer, I’m sick of it, they’re
taking over, they’re like rats,
they’re destroying the
ecosystem. I see a dead deer
on the side of the road and I
think to myself ‘That’s a
fucking start.
The author uses a
metaphorical style of
writing
The quote at hand is indicative
of much more than what
meets the eye. It is made by
Dean in reference to the
accident that Chris and Rose
were involved in, which
resulted in the death of a
deer. His approach towards
the deer’s death is rather
disconcerting as it reflects
considerable hatred for the
species. The dialogue is
metaphorical in nature, as it
resonates with the mindset of
a xenophobe, which in the
present context can be
interpreted as hatred towards
the African American
community. The deer is used
as a metaphor to suggest an
African American individual.
The sentiment of disdain
towards the entire species of
deer and the desire for their
death, is a narrative used to
suggest African American
Support from scholarly source
on related topic
(quote and pg#)
André-Naquian Wheeler. “a very persuasive
breakdown of all the hidden symbols in ‘get
out’”, i-D,31 May. 2017, https://id.vice.com/en_us/article/qvb8ev/a-verypersuasive-breakdown-of-all-the-hiddensymbols-in-get-out
genocide. Thus, this dialogues
that might initially seem to be
harmless, is filled with racist
undertones in its true essence.
Missy: Sink. Now you’re in
the Sunken Place.
The author uses a
symbolic writing style.
This particular quote is used
by the author as a symbol to
signify the marginalization of
the African American
community. The “Sunken
Place” is the theoretical
equivalent of the atmosphere
of suppression that is created
for the community, wherein
they are restricted from
voicing their thoughts. The
feeling of being paralyzed is
symbolic to the helplessness
of the marginalized
community as they are
exploited. Thus, this dialogue
is a powerful expression to
signify being stripped of power
Zack Sharf. “‘Get Out’: Jordan Peele Reveals
the Real Meaning Behind the Sunken Place”,
IndieWire, 30 November. 2017,
https://www.indiewire.com/2017/11/getout-jordan-peele-explains-sunken-placemeaning-1201902567/
and abilities and subsequently
being suppressed.
Humanities Film Analysis Worksheet
Description of the Describe sound
Describe visuals in the
Meaning
Support from scholarly source
plot in chosen
and/or music
scene (color, camera
Statement
on related topic
scene
and/or silence in
angle, lighting,
related to
(quote and pg#)
scene
foreground/background)
descriptions
(see Yale site)
(see Yale site)
Georgina
The scene
The colour palette
The scene at
Aja Romano. “How Get out deconstructs
approaches Chris
focuses sharply
includes muted shades hand is one of the
racism for white people”, Vox, 7
to apologize for
on the
of blue and grey, not
most powerful in
March.2017,
going through his characters, thus
only scene in the room
the movie. It is
vox.com/culture/2017/3/7/14759756/getbelongings. She
highlighting the
but in the characters’
revealed to the
out-benvolent-racism-white-feminism
assures him that
foleys sounds,
costumes as well. The
audience that the
there was no
whether it’s the
dullness of the pastel
character
“funny business”.
sounds of
colours are not only
portrayed
She moves on to a
footsteps or
symbolic of the suburban through Georgina
strikingly detailed
even a small
life but of the emotional
is being
account of the
breath taken by core of the scene as well.
controlled
entire incident,
the character of
This is further
through a white
upon which Chris
Gabriele who
exemplified with the
woman. While
assures her that it herself is fighting posters and painting in
the viewers are
was not his
with the body
the room, most of them
unaware of this
intention to
she has trapped. in various shades of red revelation at this
“snitch” on her.
The beginning of and uncanny in nature.
point there are
Georgina fails to
the scene is
One of the posters
several hints that
recognize the
devoid of any
behind Chris is only
give way to this.
lingo and instead
background
scene in half and seems
It is crucial to
terms it as “tattle- score but as the
to spell out “Chris is
note that the
tale”. She further
dialogues
dead”. However, as the language used by
asserts that she is progress, a faint
scene progresses the
Georgina is
not accountable
orchestral hum
background becomes
similar to the
to anyone. Chris
lingers in the
difficult to decipher as
attempts to
background,
the characters are
lighten the
almost
brought in sharp focus.
situation by
imperceptible
This is especially relevant
mentioning how
but enough to
for Gabriele as the
he gets
set the eerie
camera moves in from
uncomfortable
tone of the
the mid long shot to an
among too many
scene. The
extreme close up of her
white people.
sound designer,
face as the dialogues
Upon hearing this
Trevor Gates,
escalate. As she moves
statement, there
cleverly uses
closer to Chris, she also
is a visible shift in tropes of horror
starts taking up more
Georgina’s
films, with
and more of the screen.
expressions and
subtlety. The
On the other hand, Chris’
there seems to be creaking of the
shot begins as a mid
an inner turmoil floor as Gabrielle close but then starts to
that is reflected
moves closer to
track out, making Chris
on her face. This
Chris does not
progressively smaller
change lasts
only add to the
while also revealing the
through a few
foreboding
“Chris is dead” poster.
seconds of silence
nature of her
These shots, which were
that is interrupted character but is taken on a zoom lens use
by a string of
also a nod to the a much wider lens than
modulated “no”s, ominous nature normally used for a close
as a tear trickles
of creaking
up. This does not only
down. She then
floors in any
help in having a starkly
moves on the
horror story.
contrasted foreground
praise the
This creaking,
and background but also
Armitages for
almost becomes
helps convey the
their compassion
a leit motif of
discomfort in the scene.
and hospitality.
the scene, small And as soon as the scene
vocabulary of an
older Caucasian
woman, as
opposed to an
African American
maid. Her failure
to recognize the
word “snitch” or
the phrase “rat
you out” is also
indicative of her
failure to
comprehend
African American
lingo and instead
resort to the
Caucasian
reference of a
“tattle-tale”.
Chris’s attempt at
empathizing with
her by saying that
he is
uncomfortable
around too many
white people,
seems to
resonate with her
on a deeper level.
The visible
discomfort on her
Having expressed
her gratitude,
Georgina
proceeds to leave
the room in swiftpaced strides.
and insignificant reaches it’s melting point face stems from a
at first, almost
and Gabriele realises
possible struggle
like the
Chris knows more than
for power
conversation
he should the focus
between the two
seems to be.
shifts off of her face and consciences, that
However, as the
takes the entire setting
is, the African
conversation
into focus, as if helping
American
unfolds and
her regain her spatial
conscience,
becomes
awareness. The ending is
struggling to
progressively
seen from Chris’
overpower the
absurd, the
perspective and the
older Caucasian
breaking
camera stays fixed while
conscience, and
becomes more
she leaves with a certain
ultimately
dominant,
sense of hurry in her
succumbing to it.
almost signalling steps. The lighting of the
The assertion
rec flags.
scene further establishes
against the
Although there
the characters. While
criticism of the
are subtle hints
Chris’ face is fully lit,
family through
in the dialogue
Gabriele is lit only from
the series of
about Gabrielle one side, thereby letting denials is almost
and “the sunken the other half of the face painful to watch.
place”, the
remain in darkness. This
There seems to
turning point is
helps demonstrate the
be a decorative
when she says “I
dichotomy of her
sense of
don’t answer to
character, a body with
gratitude that is
anyone”- a line
two people inside her,
visibly fabricated
rather strange
each struggling for
in the form of
for a house staff.
control. However, her
praises for the
The is also when
face becomes more
Armitage family.
the soft
evenly lit when the real
This scene
orchestral hum Gabriele tries to come up continues to be
starts getting
louder,
becoming more
apparent and as
the real
Gabrielle starts
to surface and
fights with the
grandma who
has taken her
body, the hum
breaks into a key
instrumental.
This, too, keeps
playing in the
background,
although much
more
pronounced
than the
orchestral score
and finally
reaches a
crescendo when
Gabriele, almost
threateningly
tells Chris “they
treat us like
family”; another
subtle hint for
the horror
from the sunken place,
thus showing a crack in
the façade.
relevant till the
exist of Georgina
from the room.
The manner of
exit makes it
evident that
there was no
room for any
more lapses,
therefore, the
need to quicken
the exit.
eventually
unravels.
“Get Out”
Unpacked…
Worksheet #1
The scene at hand is one of the most powerful in the movie. It is revealed to the audience that
the character portrayed through Georgina is being controlled through a white woman. While
“controlled” is somewhat vague, the undertones of the scene allude to Georgina having been
brainwashed or programmed by her time and close proximity to the elder white woman. This
would be in keeping with Jordon Peele’s well-established original influences on this piece by both,
“The Stepford Wives” and Rosemary’s baby” While the viewers are unaware of this revelation at
this point there are several hints that give way to this. It is crucial to note that the language
used by Georgina is similar to the vocabulary of an older Caucasian woman, as opposed to an
African American maid. Her failure to recognize the word “snitch” or the phrase “rat you out” is
also indicative of her failure to comprehend African American lingo and instead resort to the
Caucasian reference of a “tattle-tale”. The true plot, not having been revealed in its totality at
this stage of the film, facilitates the ease by which, one would misinterpret the scene by the
average viewer at this time. It is, however, a milestone in the sub-plot development whereby, one
starts to see the strong influences by the Caucasian elder woman upon Georgina’s persona even
though she is physically outside of her presence and thusly, the direct influence of the old white
woman. This leads one to surmise, as I have, that the machinations in play here, are far more
deeply rooted and sinister than one, would be led to expect, in a simple employer/employee
relationship. Her lack of vernacular and use of vocabulary more attuned to white society further
reinforces the assertion that Georgina is, somehow being controlled through a programing or
brain-washing scheme. Chris’s attempt at empathizing with her by saying that he is
uncomfortable around too many white people, seems to resonate with her on a deeper level.
The visible discomfort on her face stems from a possible struggle for power between the two
consciences, that is, the African American conscience, struggling to overpower the older
Caucasian conscience, and ultimately succumbing to it. The assertion against the criticism of the
family through the series of denials is almost painful to watch. There seems to be a decorative
sense of gratitude that is visibly fabricated in the form of praises for the Armitage family.
Certainly, as demonstrated in Georgina’s lap-dog like natural obedience to the Armitage family,
the almost cultish level of manipulation of the mind of Georgina is developing in this scene. Is it
out of fear, that she blindly supports her employers, or is this a symbolic reference to a
master/slave relationship whereby, one dare not offer anything but praise for one’s masters or
suffer the harsh consequences? The inability to vocalize any commonality with her African
American protagonist in this scene emphasizes the de-humanizing effects of the brain-washing
and programming accomplished by the old woman. Fear and trepidation are the emotions
exhibited as opposed to the more natural empathy and commonality. The inner-conflict and
struggle to break free of the invisible chains and shackles that bind her are exemplified in her tears
of frustration. Perhaps, aware of her true feelings and emotions however, unable to act on, or
express them.
This scene continues to be relevant till the exit of Georgina from the room. The manner of exit
makes it evident that there was no room for any more lapses, therefore, the need to quicken the
exit. The hasty retreat by Georgina in this scene, further cements the inner turmoil and selfconflict that she is struggling with. The symbolism of this resonates as, an escape, “getting out”
and perhaps, was constructed as a precursor, a premonition to the events yet to come in the film.
As if, by distancing herself form Chis at that moment, she may somehow be both, helpful and
alertive of the things to come.
Worksheet #2
The quote at hand is indicative of much more than what meets the eye. It is made by Dean in
reference to the accident that Chris and Rose were involved in, which resulted in the death of a
deer. His approach towards the deer’s death is rather disconcerting as it reflects considerable
hatred for the species. If you are to take the statement by Dean at face value, it is, disturbing most
assuredly, why such angst and bitterness towards a woodsy creature such as a deer? As he
expounds on his loathing of the entire deer species, one starts to, perhaps, pick up on the nuances
and subliminal focus of his unorthodox hatred. With the context of his rant being fused along with
the initial incident, the accident involving the deer, Chris and Rose, it becomes clearer that Dean is
projecting his opinions beyond the deer and onto the African American race. The dialogue is
metaphorical in nature, as it resonates with the mindset of a xenophobe, which in the present
context can be interpreted as hatred towards the African American community. The deer is used
as a metaphor to suggest an African American individual. The sentiment of disdain towards the
entire species of deer and the desire for their death, is a narrative used to suggest African
American genocide. Thus, this dialogues that might initially seem to be harmless, is filled with
racist undertones in its true essence. Indeed, the true gist of the diatribe by Dean against the deer
of the world is a thinly veiled assertion that blacks have no place in his world and as such, killing
them off in their entirety would be the most logical and responsible thing to do. Quite disturbingly,
Dean’s references to the deer’ impact on the environment mimics the often held and espoused
claims that African Americans are a blight on civilization and society as a whole, breeding like
rodents, his “rat” insinuation, and I quote, “I’m sick of it, they’re taking over, they’re like rats,
they’re destroying the ecosystem” much in reference to the overpopulation of inner city ghettos,
the associated blight, the drain on resources and most telling, his precursor, “my high-horse”
whereby Dean is positioning himself as some sort of superior race over the “deer. Quite Hitlerian
indeed, Dean and his cohorts are out to cleanse the world of the inferior race…This particular
quote is used by the author as a symbol to signify the marginalization of the African American
community. The “Sunken Place” is the theoretical equivalent of the atmosphere of suppression
that is created for the community, wherein they are restricted from voicing their thoughts. The
feeling of being paralyzed is symbolic to the helplessness of the marginalized community as they
are exploited. Thus, this dialogue is a powerful expression to signify being stripped of power and
abilities and subsequently being suppressed. In retrospect, the symbolism and metaphorical
intent used by Peele regarding the “sunken place” is universally interchangeable with many facets
of black culture and its stereotypes. Sunken place can reference the housing projects of inner city
ghettos where, blacks have traditionally been suppressed and economically chained, it can also
symbolize the socio-economic stratification that many blacks find themselves trapped in whereby,
the dichotomy of social aide programs, hobbles the black family from seeking gainful employment
with which to better themselves and break free of the welfare cycle. I also recognize the inuendo
proposed by the phrase, as referring to, the depression and self loathing brought about by
centuries of abuse and usury that have left many raw and bleeding wounds in the black
community. Closure and healing has not yet begun for many and as such, they live in their own
“sunken place.”
Unpacking Freewrite
Initially, this concept of unpacking as a tool for further analysis of a subject matter was a bit
unorthodox. I do admit, however, once starting on the exercise, I found it helped in retrospective
thinking and, really taking a deeper look at my previous writings. Not only does it allow one to
reflect on one’s own work, but also, to expound on points of validity that may have been glossed
over or gone unseen in the initial preparation. Additionally, by allowing the focus on the minute
detail, the previously overlooked subtleties can now be connected, expanded and the entire piece
brought into greater clarity. I also find this exercise allows a more expansive and eloquent
vocabulary to be implemented as the pressure of creation is off and now, the polishing can
commence. As a tool for critical writing, I can see using it in the future, it does help in expounding
upon ideas and focusing key points.
Analysis (Additional)
The movie, “Get out” takes a multi-layered approach towards addressing racism. The script as well
as the filmmaking uses subtle tricks to address large issues, by creating an atmosphere of mystery as
well as turmoil. The director uses each character to portray either a sense of helplessness or an air of
superiority. Deep-rooted racial prejudices are addressed through metaphors and satire. The movie is
an attempt at exposing the inhumanity that is innate in racism while simultaneously highlighting the
vulnerability that is felt by the exploited communities. The movie stands out as it disguises racism at
its core, behind the veil of a horror plotline. It does not reduce the severity of the issue by
introducing unnecessary diversions. It is refreshing to see that the movie does not glorify a white
saviour or any unattainable standards of bravery. Thus, it hints the right note for its audience by
successfully pulling off a gripping horror thriller, while dismantling the racism in its true essence.

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