Is 'Get Out' 2017 Truly Anti-White?

Is the critically acclaimed 2017 film Get Out anti-white? This question has sparked numerous debates and misinterpretations. Directed by Jordan Peele, Get Out is a complex blend of horror, social commentary, and race relations. However, it is often misunderstood as a blanket condemnation of white people rather than a critique of systemic racism and cultural appropriation.

Analysis and Context

Get Out centers around the experiences of a Black protagonist named Chris, who visits his girlfriend's white family and uncovers terrifying truths. The film explores themes of exploitation, fetishization, and the insidious nature of racism that can exist even in seemingly liberal environments.

Many critics and audiences view Get Out as a reflection on the complexities of race relations in America, using horror to highlight societal issues rather than promoting hostility against any racial group. The film's primary focus is not on white people as a whole, but on the covert and overt forms of racial bias that can exist within any group.

Common Misinterpretations

One reason for this misinterpretation is the portrayal of the white family in the film. Critics often point to their actions as an attack on white people, but this is a superficial and narrow view. The antagonists in Get Out use tropes reminiscent of films such as The Stepford Wives, The Boys from Brazil, and Invitation to Body Snatchers. These include paranoia about an all-white community and a focus on exploitation, which adds a fresh layer of racial tension to the story.

The insistence on labeling Get Out as anti-white also misses the broader context. Jordan Peele's film is a commentary on the broader societal dynamics of racism and power rather than a direct attack on any specific racial group. The film highlights how racism can be present in various forms, including subtle and covert biases, which are not limited to any one racial group.

Rebuttal and Clarification

Another argument against labeling Get Out as anti-white is the idea that any criticism of exploitative behavior should be seen as an attack on the group as a whole. This is a logical fallacy. It is not anti-male to point out the sexism in society, nor is it anti-white to highlight the existence of racism within white communities. The film's intent is to challenge viewers to confront their own biases and recognize the harmful behaviors that can exist within any group, whether it be white, black, or any other race.

The whole point of Get Out was to show the audience that bigotry is not confined to any single political or social affiliation. It exposes the so-called "Progressive whites" who claim to be non-racist but still harbor covert biases. The film aims to educate and provoke thought rather than to incite hatred or promote a narrow view of racism.

Conclusion

In conclusion, Get Out is not anti-white. It is a powerful critique of systemic racism and cultural appropriation, using horror as a means to highlight these issues. The film's primary goal is to challenge viewers to confront their biases and recognize the covert and overt forms of racism that exist within society. The complexities of race relations cannot be fully understood by labeling a film as anti-white. Instead, a more nuanced and thoughtful analysis is necessary to truly appreciate the depth and significance of Get Out.