get out essay introduction

• The Politics of the “Get Out” Film by Jordan Peele Words: 3105
• The “Get Out” Film by Jordan Haworth Peele Words: 638
• Horror Films: Articles Analysis and Comparison Words: 1950
• Issues in the Film Industry Words: 2226
• Films and Their Role in Society Words: 2414
• Federico Fellini Films Analysis Words: 1939
• Cannibalism and Female Desire in Horror Films Words: 2781
• The US Film Industry’s History and Competitiveness Words: 2009
• “Psycho” Film by Alfred Hitchcock Words: 1688
• Films and Television: Visual Techniques Words: 612
• Value of Film in Explaining History Words: 1471
• The Autumn Sonata Film by Ingmar Bergman Words: 1240
• Ideology in “The Matrix” Film Words: 1089
• Historical Anxieties in International Horror Films Words: 3088
• Slasher and Gothic Horror Film Sub-Genres Words: 1696
• Canadian Indigenous Horrors Films: “Blood Quantum”. Film Proposal Words: 817
• History of Film Noir Words: 1988
• Predicting the Future of Film Narrative Words: 2840
• Themes in Films by Spike Lee Words: 2225
• The Film “Stranger on the Third Floor” Words: 992
• The Book “A History of Narrative Film” Words: 2815

“Get Out” Horror Film by Jordan Peele

Get Out is a satirical horror directed by Jordan Peele in 2017. Get Out premiered on January 23, 2017, and was described as “a movie that plunges into white insecurities about black sexuality and the lingering toxicity of slavery on the national psyche” (Johnston 2). The film was a success and received the best awards for acting, writing, directing, and the themes are introduced to the public. In the era of Black Lives Matter, this film is the exact product concerning today’s most heated issue. The film is thought to be a “fantastically twisted and addictively entertaining horror-satire” (Bradshaw 1). Therefore, it has such elements as dramatic and situational irony, allegory, and even paradox.

Chris Washington, the main character, is a black photographer who is extremely anxious about meeting the family of his white girlfriend. Therefore, he continually asks her “Do they know I’m black?”(Peele, 2017). Rose’s dthe ad, Dean, typically makes inappropriate comments about people of color, so Chris is conscious about it. During the night, Chris witnesses the odd conduct of the home’s dark-skinned maid, Georgina, and maintenance person Walter. Later, Chris complains about his inability to sleep generally due to smoking, and Rose’s mother Missy, a hypnotherapist, decides to help him. The next morning Chris wakes up realizing he does not have a smoking addiction anymore.

Later on, many affluent white individuals show up for the Armitages’ annual social gathering. They express high estimation for Chris’ physical appearance. One of the guests, Jim Hudson, an impaired craftsmanship seller, takes a specific enthusiasm for Chris’ photography aptitudes. Chris meets another person of color, Logan King, who behaves oddly and dates the older white woman. Chris calls his friend, TSA administrator Rod Williams, about the curious occurrence Chris endeavors to capture a picture of Logan quietly, but when his glimmer goes off, Logan gets insane, telling Chris to “get out”. The rest of the guests get him, and Dean ensures that Logan had an epileptic seizure.The others catch him, and Dean assures him that hat Logan had an epileptic seizure. According to Kermode (2017) “gradually, inexorably, the cringe-inducing “liberal” awkwardness turns to something more sinister” (3). It turned out that under this annual meeting, people assumed the auction, which is an allegory forslave salee.

Away from the meeting, Chris convinces Rose that they must leave. Rhodes, having received the picture, perceives Logan as Andrea Hayworth missing. Suspecting the connivance, Rod appeals to the police, but the police officers disregard his speech. Here the audience hear such a phrase from the police officer: “This dude is from Brooklyn. He didn’t dress like this” (Peele, 2017). Thus, this saying can be interpreted as dramatic irony because their dialogue seems a little far-fetched. While Chris is about to leave, he discovers photographs of Rose in earlier associations with people of color, including Walter and Georgina, denying her case that Chris is her first black boyfriend. He tries to get out, but Rose and her family surround him. Chris attacks Jeremy; however, Missy uses the “trigger” that she turned on during his hypnosis, killing him.

Chris moves tied to a basement spot. In the video introduction, Grandfather Rose Roman explains that the family transplanted their brain into the bodies of others, giving them their preferred physical qualities and a curved type of eternal status. Hudson tells Chris that the presenter remains in the Sunken Place, knowledgeable but weak. Even though the family is mainly aimed at people of color, Hudson discovers that he needs Chris’s body only for sight. Missy casts a bewitching spell, making Chris pass out.

Chris hits Jeremy, stopping the hypnotist, covering his ears with a cotton seal stretched from the seat. He penetrates Dean with the fangs of a deer, causing Dean to light a match, setting fire to the workshop with the Hudson inside. Chris executes Missy, but Jeremy attacks him as he heads for the exit. He kills Jeremy and drives away in his car, but defeats Georgina. Remembering the passage of his mother, he delivers Georgina in the vehicle. In any case, under the control of Granny Marianne, she attacks him. During the battle, the car crashes and Georgina is dead.

Rose captures him with Walter, who is controlled by Roman. Chris utilizes the flash of his telephone to murder Roman, permitting Walter to recover control of his body. Walters Rose’s rifle fires her in the stomach, and shoots himself, slaughtering Roman. The next moment, people may notice the elements of a paradox when Rose was lying on the ground being strangled by Chris, she claims to love him despite her cold-blooded deed. The scene comes to an end when a police cruiser maneuvers on stage and Rod leaves the car to rescue Chris. The finale refers to situational irony, as Rod had nothing to do with the police; however, he saved his friend undercover.

Several main themes make up Get Out’s plot. First of all, slavery is a significant subject of getting Out . According to the source, “the film critiques the insidious racism that lurks just beneath a veneer of white liberal do-gooders” (Harris 4). The activity at the Armitage house reconsiders the foundation of property slavery. The individuals from the “Request for the Coagula,” established by Dean Armitage’s father use black people for their motivations. The senior member holds a quiet sell-out over who gets the chance to transplant their mind into Chris’ collection, a scene that brings attention back to the barter that took place inside the submission base.

Individuals of color are enticed, through either brutality or increasingly manipulative methods, to the house, where they are then misused. The same happened to Georgina and Walter who were deprived of their independence. Peele constrains us to face the inheritance of subjugation by envisioning a current variant of it. The structure has changed, yet the malignant aim is as yet the equivalent: to rule over a race.

The next theme concerns kidnapping and mainly relates to Andre being kidnapped at the beginning of the film which previously happened to Walter and Georgina. Their bodies are now occupied by the Armitages’ grandparents. Who is searching for these individuals? Many people are still nnot foundin America and it is worrying. This film brings up upsetting the truth: nobody is searching for those people.

Race is maybe the absolute most predominant subject in the film. From the earliest starting point, we see a world where the interracial connection between Rose and Chris represents a few inconsistencies. He asks Rose whether she told her parents that he was dark before taking him home. On their way to the house, Chris and Rose are pulled over by a white cop, who requests to see Chris’ ID. However, Rose decides to stand up for her boyfriend blaming the policeman for racial prejudice.

At the Armitage mansion, Chris’ race is thought to be not a “serious deal”, yet the family’s clumsiness about dark-skinned people now and again communicated through a determined emphasis all alone “wokeness,” turns into its bigotry. For example, Dean tells Chris that he “would have voted for Obama a third time if [he] could” and alludes to him as “my man” all through their visit (Peele, 2017). Missy discourteously treats Georgina, the black servant, and it feels as though Missy has some racial biases. Rose’s sibling, Jeremy, is probably the most agitating individual fromin family. He asked Chris uneasy questions provoking him to a battle. The film takes an eye-catching situation – a young colored man meets the family of his white lover – and continues to drive it into an increasingly creepy area until it becomes more and more terrifying.

As a film of blood and horror, Get Out is focused on the terrible events, be it hatred of ordinary people or more pronounced hatred of the laboratory that uses black people. From the first second, disgust and how these different people perceive the best places as “terrible” is the central theme of the film. The first few seconds show Andre, a man of color walking along a path in the suburbs at night. A group of people seems safe and reliable from the usual point of view. Still, we will soon realize that this white suburb is not suitable for a defenseless person of color. The car did drive up to Andre and the disguised driver pounced on him, knocking him down, and throwing him in the back seat.

Aversion continues to unfold from this point and keeps up until the rest of the film. To begin with, on the road to the north, Rose and Chris hit a deer with their car. The deer is symbolic here as Rose’s dad claims that he hates them, saying “I’m sick of it, they’re taking over, they’re like rats, and they’re destroying the ecosystem” (Peele, 2017). This expression can allude to eugenics’ representatives who wanted to wipe out the entire race. This is not a particularly extreme case, given that they pass through a lush area, but the second is surprising and frustrating, especially for Chris, who leads. At this point, the house begins to sicken the viewer, from the empty grin of the black internal staff to Missy’s accent on Chris’s mesmerizing appeal to Dean’s bizarre use of ebony and his claim that he will decide in favor of Obama the third. Time. All of these little disgusts for Chris are deeply disturbing, and the film exceeds expectations, pointing out to the viewer how frivolous the bias of the regulator in itself is alarming.

The name alone uncovers to the viewer that the focal subject of the film will get away. Chris puts forth a strong attempt to exist together with the Armitage family the first hight, paying little mind to unavoidable hiccups. At the gathering the following day, nonetheless, after Chris snaps a photo of Logan with his camera, Logan appears to wake up in surprise and gets Chris, telling him: “Get out!” This is a startling admonition, as apparently, this is the genuine primary concern that Logan said in all the joint effort. Chris focuses on the notice and decides to leave when time permits, stunned by the experience and peculiar things that occurred. Despite the fact that he accepts that Rose will release him, it before long becomes obvious that she has been torturing him constantly and that he is the survivor of a perplexing, energizing trick. In the rest of the film, after Chris is found in a tornado shelter, his only wish is to escape.

The next topic is fixated on Chris and his “apparent prevalence.” While prejudice usually surrounds the impression of a different race as a parameter, Get Out revealed white characters’ interest in black bodies, much closer to envy and predation than to rapture. The dignitary tells Chris that dark sprinter Jesse Owens beat his father during the rounds at the 1936 Olympics, and the meeting, various participants, note many of Chris’s characteristics, from his physical composition to his workshop, the ability to take pictures. As it turns out later, the procedure that the Armitages created involves the transplantation of a white brain into a black body and, therefore, the transfer of a wicked person’s ability to a white consciousness. Jim Hudson needs to transfer his mind to Chris’s skull, as he wants to see and photograph with Chris’s expertise.

The whole plot of the film is based on a young woman who brings a man she is dating to meet her family. This situation is familiar for the majority of people and what keeps Chris in a new state is his affection for Rose. At some point, he tells her that she is all that he has, and the couple shares many sincere minutes throughout. Rose always guarantees Chris that she can help him in any case when her family acts especially strange or does something that makes Chris feel distant. This sentimental association that builds up is what makes Rose’s possible disloyalty so terrible. The observer intends to imagine that she is an ally of Chris, but in reality, she is just as ruthless and evil as her family.

Undoubtedly, there are several precursors of the film which may have shaped Peele’s mind before he issued Get Out . Rosemary’s Baby and The Stepford Wives may have affected the plot of Peele’s movie. The main similarity of these films is that the protagonists are smart, and they are ready to investigate the situation rather than start screaming and crying. During the interview, Peele stated that he loved movies that expose the darker sides of seemingly harmless places and people” (Chan 5). Therefore, he likes The Stepford Wives, “ which reveals the underbelly of this idyllic setting” (Chan 5). All these movie’s characters have the intuition that leads them to some sinister revelation. Moreover, the audience may observe the interaction of genres, namely horror and comedy, within these films.

In conclusion, it seems reasonable to state that Get Out is a truly genius movie revealing the present concerns of tociety about racial inequality. Moreover, social insults and the small injustices of casual racism are amplified, and it turns out that they mask the most disgusting form of racism: slavery. Overall, Jordan Peele has succeeded to demonstrate such an acute problem using satirical elements, which mitigated the genre of horror.

Works Cited

Bradshaw, Peter. “Get Out Review – Fantastically Twisted Horror-Satire on Race in America”. The Guardian , 2017. Web.

Chan, Andrew. “Walking Nightmares: A Conversation with Jordan Peele.” The Criterion Collection, 2017, Web.

Harris, Brandon. “ The Giant Leap Forward of Jordan Peele’s “Get Out” .” The New Yorker , 2017.

Johnston, Trevor. “Film of the Week: Get Out, a Surreal Satire of Racial Tension.” BFI, 2018, Web.

Kermode, Mark. Get Out Review – Tea, Bingo… and Racial Terror.” The Guardian, 2017. Web.

Peele, J. (2017). Get out [Film]. Blumhouse Productions.

Cite this paper

• Chicago (N-B)
• Chicago (A-D)

StudyCorgi. (2022, January 21). “Get Out” Horror Film by Jordan Peele. https://studycorgi.com/get-out-horror-film-by-jordan-peele/

"“Get Out” Horror Film by Jordan Peele." StudyCorgi , 21 Jan. 2022, studycorgi.com/get-out-horror-film-by-jordan-peele/.

StudyCorgi . (2022) '“Get Out” Horror Film by Jordan Peele'. 21 January.

1. StudyCorgi . "“Get Out” Horror Film by Jordan Peele." January 21, 2022. https://studycorgi.com/get-out-horror-film-by-jordan-peele/.

Bibliography

StudyCorgi . "“Get Out” Horror Film by Jordan Peele." January 21, 2022. https://studycorgi.com/get-out-horror-film-by-jordan-peele/.

StudyCorgi . 2022. "“Get Out” Horror Film by Jordan Peele." January 21, 2022. https://studycorgi.com/get-out-horror-film-by-jordan-peele/.

This paper, ““Get Out” Horror Film by Jordan Peele”, was written and voluntary submitted to our free essay database by a straight-A student. Please ensure you properly reference the paper if you're using it to write your assignment.

Before publication, the StudyCorgi editorial team proofread and checked the paper to make sure it meets the highest standards in terms of grammar, punctuation, style, fact accuracy, copyright issues, and inclusive language. Last updated: October 28, 2022 .

If you are the author of this paper and no longer wish to have it published on StudyCorgi, request the removal . Please use the “ Donate your paper ” form to submit an essay.

Race in Popular Culture: “Get Out” (2017) Essay (Movie Review)

Introduction, description of the themes, academic context, works cited.

The topic of racism is not new to the American population. The history of this phenomenon has century-long roots, and over time, many opinions and attitudes have developed. This research paper will focus attention on the way popular culture depicts the idea of racial inequality through a content analysis of the movie Get Out . The 2017 film was directed by Jordan Peele and stars Daniel Kaluuya as Chris Washington, a young man who experiences certain changes and specific treatment due to the color of his skin.

When a black photographer meets the family of his white girlfriend, he cannot begin to guess how dangerous and strange all the members of the household, including the servants, are. Along with a number of horror scenes, a theme of racism develops, turning the concept into a demon of the 21st century. Modern parties are compared to slave auctions of the past, and a fascination for black skin color proves the power of the white race’s decision-making. As Get Out is a unique example of popular culture, the content analysis of this film shows how crucial the idea of racism is through the prism of human relations and police regulations.

The content analysis of the movie was developed in several stages. First, it was necessary to choose scenes where racism is properly depicted. For example, an early scene shows a young black man talking on a phone and demonstrating mild indignation about the name of the street and the location of this “creepy, confusing-ass suburb” where he feels like “a sore thumb” ( Get Out ). In the end, he is kidnapped by an unknown person in a car. This scene raises the idea that despite evident progress and a lack of obvious racial bias, black people continue to feel uncomfortable in areas where only white people live.

The situation when a police officer asks a passenger for his driver’s license provides evidence that racial prejudice exists in different regions of the United States. A young woman, Rose, expresses concern to her boyfriend about the policeman’s disrespect and tries to change the situation. She tells him that “you don’t have to give him your ID because you haven’t done anything wrong,” and that it is “bullshit” to ask for IDs “anytime there is an incident” ( Get Out ). Although many people, like Rose, have already discarded racial bias, American society still has many racists and other prejudiced people.

During the party, a climax in the discussion of racial issues is shown. In this scene, a white guest begins sharing his opinion about skin color and its role in the modern world. Chris finds it strange to hear that “people want to change. Some people want to be stronger, faster, cooler. Black is in fashion” ( Get Out ). On the one hand, such a phrase could be used to underline whatever benefits black people receive. On the other hand, the desire of a white man to see everything through the eyes of a black man shows his egocentrism and selfishness. In addition, the family focuses on the presidency of Obama as one of the best examples in their lifetime.

Finally, communication between Chris and a black servant, Georgina, was chosen as part of a sampling strategy to discuss black-white relationships. In the movie, the woman shares her thoughts about situations involving “too many white people,” which make her nervous ( Get Out ). At the same time, she underlines that the Armitages have been good to her. Doubtful and uncertain attitudes are evoked in both the character and the audience.

The themes of white-black relationships and the role of the police in racial judgments comprise the two major topics for a thorough discussion. This choice is explained by the necessity to combine human feelings and social norms under which behaviors and relationships are developed. The treatment by police officers or other representatives of the law toward black people varies depending on the decisions of other people. To comprehend better the idea of race and its history, it is important to pay attention to collective and individual thoughts and attitudes.

Racism is always a negative quality, regardless of the population it influences and the outcomes it reaches. However, in discussing racism through the prism of horror movies, its impact is difficult to predict and to understand. In Get Out , racism is not the major topic, but it helps the viewer to gain an understanding of the motives of the characters and the ways they prefer to establish relationships. As stated, the movie depicts the central idea of race in the phrase, used by a white man, that “black is in fashion” ( Get Out ). Notably, black people are not said to be respected or recognized as a race equal to the white race. Although Obama is defined as the best president for the United States, no reasons or additional explanations are given as if this is simply a commonly spoken phrase in the depicted family. Finally, Chris’s desire to know whether Rose’s parents know about the color of his skin shows the fact that sometimes people’s reactions are unpredictable. Any chance to prevent complications or warn about racial differences must be seized.

In addition to everyday human relationships, the attitude of the law toward racism cannot be ignored. The movie contains a short but informative scene with a policeman that demonstrates the potential cruelty and unfairness of people’s judgments. This type of racism may not be obvious, but it cannot be ignored because it also determines black people’s behaviors. In the scene, Rose is driving the car and hits a deer crossing the road. She calls the police and discusses the situation.

Even after clarification, the responding policeman asks Chris for his driver’s license, then begins to stutter as he realizes the racial bias evident in his request. At last, he returns the license without looking at it or Chris (see fig. 1). In this situation, Chris has to behave calmly to avoid causing any negative reaction. He follows all instructions and does not find it necessary to disagree or debate, compared to his girlfriend who is eager to protect him and who talks to the officer without restraint.

Both themes in the movie contribute to the discussion about race and inequality. Many black children hear serious lectures from their parents about how to behave with police and how to respond to all official requests. White people are less concerned about the consequences of their communications with police as well as with black people. The level of responsibility, behavioral norms, and respect for each other vary between the representatives of the white and black races, and this paper aims to discuss some aspects of this topic.

Racial biases in human relationships, along with their legal justifications, emerge as serious themes for analysis in the movie Get Out . According to Nierenberg, Peele succeeds in highlighting and satirizing racism in America by “taking certain tropes to their exaggerated sci-fi/horror conclusions,” arguing about “black bodies and who owns them” (500). A slave auction at the party and the desire of a white man to possess the eye of a black man just to see what blacks see introduce the selfish side of the white nation and their compulsion to control everything, even the length of life. Landsberg defines this scene as “an astounding moment, a moment in which a pervasive post-racial discourse coexists with whites stripping African Americans of their civil rights and humanity” (638). Even as the characters express their recognition of the black president and his qualities, they are ready to bargain for his body, physical power, and other distinctive features.

The duty of the police is to make sure that all citizens follow the same rules and behave in accordance with existing laws. However, it is not always easy to prove the correctness of law enforcement actions. Banton says that people have tried “to make bad things better by change of name…to make things disappear by giving them bad names” (21). Although in the scene, such words as “race,” “skin,” or “origin” are not used, these concepts evidently bother all three characters at that moment.

Therefore, Peele can easily call Banton’s words into question and prove that bad things never disappear. Boger shows that “black men are at once something to be ridiculed, something to be used for sports or military aims, to be jailed, and to be hated” (150). Even when are no reasons for imprisoning a person, a white man will always try to find another cause to uphold his attempt to control the black body physically or emotionally. Yancy underlines the importance of black resistance to white power in avoiding black people’s disappearance without a trace (1294). Thus, the movie serves as a call to action for black people.

It may be possible that even the creators of the movie Get Out could scarcely predict the impact that the theme of the race could have on this popular culture example. Instead of a cheap and predictable horror movie, the audience receives a captivating story about choices, dependence, and the desire to control everything. Compared to other modern horrors, Get Out reveals the idea that despite their intentions to be united and supportive, people cannot get rid of their racial biases and deeply rooted prejudice. It is possible to hide true intentions by a variety of means, but in the end, a final choice must be made: will the individual be a master or a slave? Racism can exist in different forms, and people are not able to recognize all of them even when confident in their powers and abilities. Black resistance has a long history, and Get Out provides a reminder of causes and outcomes that can be observed in human relationships, police behavior, and political change.

Banton, Michael. “The Concept of Racism”. Race and Racialism , edited by Sami Zubaida, Routledge, 2018, pp. 17-35.

Boger, Jillian. “Manipulations of Stereotypes and Horror Clichés to Criticize Post-Racial White Liberalism in Jordan Peele’s Get Out.” The Graduate Review , vol. 3, no. 1, 2018, pp. 149-158.

Get Out. Directed by Jordan Peele, performances by Daniel Kaluuya, Allison Williams, and Bradley Whitford, Universal Pictures, 2017.

Landsberg, Alison. “Horror Vérité: Politics and History in Jordan Peele’s Get Out (2017).” Continuum , vol. 32, no. 5, 2018, pp. 629-642.

Nierenberg, Andrew A. “Get Out.” Psychiatric Annals, vol. 48, no. 11, 2018, p. 500.

Yancy, George. “Moral Forfeiture and Racism: Why We Must Talk about Race.” Educational Philosophy and Theory , vol. 50, no. 13, 2018, 1293-1295.

• “Cleopatra” Movie by Joseph L. Mankiewicz
• "The Baader Meinhof Complex" Film Analysis
• The United States as a Policeman of the World
• American Movies: Racial and Gender Issues
• Moral Dilemma: Drug-Related Offense of a Policeman
• Roberta from "Desperately Seeking Susan" Film
• Ethical Dilemma in “The Reader” Film by S. Daldry
• "Newsies" by Kenny Ortega and the Industrial Revolution
• Alfred Hitchcock's "Psycho" Annotation
• "The Cabin in the Woods" Horror Comedy Film
• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2021, July 7). Race in Popular Culture: "Get Out" (2017). https://ivypanda.com/essays/race-in-popular-culture-get-out-film-analysis/

"Race in Popular Culture: "Get Out" (2017)." IvyPanda , 7 July 2021, ivypanda.com/essays/race-in-popular-culture-get-out-film-analysis/.

IvyPanda . (2021) 'Race in Popular Culture: "Get Out" (2017)'. 7 July.

IvyPanda . 2021. "Race in Popular Culture: "Get Out" (2017)." July 7, 2021. https://ivypanda.com/essays/race-in-popular-culture-get-out-film-analysis/.

1. IvyPanda . "Race in Popular Culture: "Get Out" (2017)." July 7, 2021. https://ivypanda.com/essays/race-in-popular-culture-get-out-film-analysis/.

Bibliography

IvyPanda . "Race in Popular Culture: "Get Out" (2017)." July 7, 2021. https://ivypanda.com/essays/race-in-popular-culture-get-out-film-analysis/.

• To find inspiration for your paper and overcome writer’s block
• As a source of information (ensure proper referencing)
• As a template for you assignment

IvyPanda uses cookies and similar technologies to enhance your experience, enabling functionalities such as:

• Basic site functions
• Ensuring secure, safe transactions
• Secure account login
• Remembering account, browser, and regional preferences
• Remembering privacy and security settings
• Analyzing site traffic and usage
• Personalized search, content, and recommendations
• Displaying relevant, targeted ads on and off IvyPanda

Please refer to IvyPanda's Cookies Policy and Privacy Policy for detailed information.

Certain technologies we use are essential for critical functions such as security and site integrity, account authentication, security and privacy preferences, internal site usage and maintenance data, and ensuring the site operates correctly for browsing and transactions.

Cookies and similar technologies are used to enhance your experience by:

• Remembering general and regional preferences
• Personalizing content, search, recommendations, and offers

Some functions, such as personalized recommendations, account preferences, or localization, may not work correctly without these technologies. For more details, please refer to IvyPanda's Cookies Policy .

To enable personalized advertising (such as interest-based ads), we may share your data with our marketing and advertising partners using cookies and other technologies. These partners may have their own information collected about you. Turning off the personalized advertising setting won't stop you from seeing IvyPanda ads, but it may make the ads you see less relevant or more repetitive.

Personalized advertising may be considered a "sale" or "sharing" of the information under California and other state privacy laws, and you may have the right to opt out. Turning off personalized advertising allows you to exercise your right to opt out. Learn more in IvyPanda's Cookies Policy and Privacy Policy .

Home — Essay Samples — Life — Peel — Subtle Hints: Examples of Foreshadowing in Jordan Peele’s “Get Out”

Subtle Hints: Examples of Foreshadowing in Jordan Peele's "Get Out"

• Categories: Peel

About this sample

Words: 610 |

Published: Jun 13, 2024

Words: 610 | Page: 1 | 4 min read

Table of contents

Introduction, body paragraph 1, body paragraph 2, body paragraph 3.

Cite this Essay

To export a reference to this article please select a referencing style below:

Let us write you an essay from scratch

• 450+ experts on 30 subjects ready to help
• Custom essay delivered in as few as 3 hours

Get high-quality help

Dr. Karlyna PhD

Verified writer

• Expert in: Life

+ 120 experts online

By clicking “Check Writers’ Offers”, you agree to our terms of service and privacy policy . We’ll occasionally send you promo and account related email

No need to pay just yet!

Related Essays

6 pages / 3355 words

1 pages / 349 words

3 pages / 1502 words

2 pages / 983 words

Remember! This is just a sample.

You can get your custom paper by one of our expert writers.

121 writers online

Still can’t find what you need?

Browse our vast selection of original essay samples, each expertly formatted and styled

Related Essays on Peel

This work was done for the study of the antibacterial activity of the peel extract of Musa acuminata using ethanol, methanol, and an aqueous solvent of extraction. We have used the agar well diffusion method for this study and [...]

Air, water, and food are the three basic needs for the survival of mankind. Earth's surface is enclosed with two third of the water. But the availability of quality freshwater is one of the most critical environmental issues. [...]

In the past years, the world has seen a great many changes. For many, these were the changes in technology and communication. But what mainly concerns us today is the health condition of the common people. With the rise of [...]

A high production rate and cost effective method primarily used in the production of non-ferrous metals is the Pressure Die Casting (PDC) technology. It is widely used in the manufacturing of automobile components of complex [...]

Embarking on the journey of software development entails navigating through a series of well-defined stages, collectively known as the software development life cycle. Each phase, from planning to maintenance, plays a vital role [...]

Land cover refers to the surface cover on the ground, whether vegetation, urban infrastructure, water, bare soil or other. Identifying, delineating and mapping land cover is important for global monitoring studies, resource [...]

Related Topics

By clicking “Send”, you agree to our Terms of service and Privacy statement . We will occasionally send you account related emails.

Where do you want us to send this sample?

By clicking “Continue”, you agree to our terms of service and privacy policy.

Be careful. This essay is not unique

This essay was donated by a student and is likely to have been used and submitted before

Download this Sample

Free samples may contain mistakes and not unique parts

Sorry, we could not paraphrase this essay. Our professional writers can rewrite it and get you a unique paper.

Please check your inbox.

We can write you a custom essay that will follow your exact instructions and meet the deadlines. Let's fix your grades together!

Get Your Personalized Essay in 3 Hours or Less!

We use cookies to personalyze your web-site experience. By continuing we’ll assume you board with our cookie policy .

• Instructions Followed To The Letter
• Deadlines Met At Every Stage
• Unique And Plagiarism Free

“Get Out” Movie Character Analysis

Introduction.

Unlike other horror comedies centered around improbable or supernatural happenings, Jordan Peele’s 2017 horror thriller Get Out is completely distinct from other films based on horror. Rather, it is founded on the sometimes exaggerated and extreme concerns of Black people over racism. Because it exposes people’s racist impulses, it is simultaneously terrifying and hilarious. The movie’s central topic is the uncomfortable sense of being too wanted or unwanted in a location and realizing that one does not belong there. With a satirical, ethnic twist, the movie also revolves around the timeless theme of sensing something is wrong behind closed doors. Get Out shows how wider institutional racism and resurgent “negrophilia” interact. White people’s misconception of black culture prevents them from humanizing the black experience despite their “efforts.” As demonstrated in the movie, white people make black people feel self-conscious about their characteristics and judge them according to qualities that are not always “desirable,” which further alienates them. The paper will focus on Chris as a character and analyze the character based on the concept of the theory of personality, Psychoanalysis (Freud), and Cognitive-Behavioral Theory while also providing the reason for selecting the theories and their limitations.

Brief Description of the Case

The protagonist of the film Get Out, Chris Washington, represents a black photographer living in an interracial relationship. Chris feels guilty about his mother’s death because of the lie, or falsehood, he told himself that caused her to die. He consents to go on a weekend visit to the white family estate of his new girlfriend, where he finds things rather strange and creepy. Chris demonstrates care, empathy, skepticism, and adaptation throughout the movie. Chris’s solution is to stop using the excuse that “life isn’t fair” in conversations with other people and instead utilize it to support his arguments. He transforms by acknowledging that mishaps do occur occasionally. This shift is confirmed by getting out of the automobile to look for the fallen Georgina. Regretfully, by taking a wider view, he permits justice and equity to overpower the objective of Storytelling via the line’s conflicting balance. His acts, which range from bocce ball to strangulation, fight fire with fire and validate the stereotype of the contemporary black man held by white America, along with the underlying prejudice. In this case, the pattern of his behavior is observing, analyzing, and understanding the odd behaviors in people.

Selection of Theories and Their Significance

The two selected strategies for analyzing this issue include psychoanalysis and cognitive behavior theory. The two theories present conflicting views that help develop a complete image of Chris’ personality. It is evident from the context of the movie in general that “Get Out” keeps viewers on the precipice of their seats from the first to the last scene, never letting up for comedic moments. The producer is aware that there is always anxiety and uneasiness when a black man visits his white girlfriend’s parents. He’s amplifying that, using a readily recognized racial conflict to create a scary film. The psychoanalytic approach explores the unconscious mind through its involvement in psychological conflicts and demining mechanisms. At the same time, Cognitive behavioral theory is a theory of thought that considers the relationship between thinking, feeling, and behavior. These techniques help examine the mechanisms of workings of Chris’s thought process and the associated behaviors.

Psychoanalytic Theory by Freud

Since psychoanalysis was founded, Freud has focused on the neurophysiological phenomena that underlie the observed psychological processes. He was forced to give up on his aspirations because, first, the scientific instruments of the moment were not developed enough to support his neuroscientific ambitions, and second, he was skeptical of the prevailing phrenologic perceptions and the tendency to assign a particular brain region to every mental process (Cieri & Esposito, 2019). In this regard, psychoanalysis, founded by Sigmund Freud, emphasizes behavior concerning the unconscious mind. This means that personality develops out of unconscious conflicts, the occurrences in childhood, and the need to find shelter from anxiety or stress.

For example, psychoanalysis makes us understand why Chris is initially rather reluctant and suspicious about the “odd” behavior of his girlfriend’s family. From Freud’s perspective, Chris’s unconscious could have caught these unspoken hints and made him suspicious or uneasy (Cieri & Esposito, 2019). Additionally, his former experiences being a black man might have made him extra cautious, aware, and alert while hanging out with mostly whites. Other defenses, including repression and denial, may be involved in suppression or ignoring Chris’s increasing worries about the real motive behind the family. Usually, being cautious minimizes the trauma of the first experience, and the anticipation of trauma reduces the shock that may be experienced. According to Freud, following a traumatic occurrence, there could be two different stages. When trauma breaches the protective layer, there is an initial collapse and potentially catastrophic disruption of functioning. One gets the impression that they are about to die or that they are in danger of destroying themselves. The victim is frequently in shock and confusion, maybe not knowing how to process what has happened. He might be gregarious and animated or quiet and reserved. People in this state are sometimes referred to as “dissociated.”

Under such premises, Chris often said, “Life isn’t fair.” With such a mentality, he was advised to stop using the phrase to try to bring events to normalcy. According to Freud, the more complex and maybe sneakier psychological symptoms might arise. To resume their regular activities, the victim or survivor could look for a logical explanation for what happened. Chris tries to establish blame or cause of his situation on an entity they believe is internal or external. According to Freud, following a disaster, people are all likely to have acute feelings of persecution, which they may associate with long-standing (and often unconscious) misgivings about the reliability of the people they typically rely on to look out for them.

Limitations of Psychoanalysis Theory

However, one weakness of Psychoanalysis is that it is heavily reliant on subjective interpretations and speculations. Because the unconscious mind is not directly observable or measurable, psychologists generally do not have any empirical data on which they can rely regarding Freud’s theory (Cieri & Esposito, 2019). Furthermore, psychoanalysis dwells on experience, including childhood, which may not necessarily consider influences of the present and surrounding environment in forming one’s personality. Nonetheless, research has shown that patients receiving these treatments continue to progress. There are drawbacks to analytical treatment as well. For example, therapists might not always be able to give their clients an atmosphere that fosters growth, which could impair their reflexivity tendencies. Notwithstanding these drawbacks, psychoanalytic psychotherapy has demonstrated noteworthy advantages concerning mental health symptoms, life satisfaction, adaptive abilities, and the decrease of maladaptive social behaviors.

Cognitive-Behavioral Theory

The core tenet of cognitive-behavioral therapy (CBT) is the belief that individuals’ mental processes are largely responsible for forming and maintaining their emotional and behavioral reactions to external stimuli. According to the cognitive-behavioral theory, human thought influences human conduct and emotion (Rajabi Majd et al., 2020). According to behavioral therapy, these cognitive factors may immediately impact people’s response to situations. According to CBT models, interpretations, judgments, appraisals, and preconceptions related to particular life experiences are cognitive processes that play a major role in determining how someone feels and behaves in reaction to events in life, which can either help or impede the procedure of adaptation.

This implies that our feelings towards the events and situations determine our reactions and feelings in this context. Cognitive-behavioral theory explains why Chris has both an adaptive behavior and an analytical attitude. In other words, he constantly watches people’s actions, trying to explain the more and more incomprehensible things that happen to him. His innate belief that everything should be logical fuels him and drives his course of action or decisions. The Cognitive-Behavioral Theory would also highlight how his racial identities and the life experiences accompanying them have affected him (Rajabi Majd et al., 2020). Notably, some of the negative beliefs/schemas that are associated with race may also affect his interpretation and response towards the event, thus dictating his emotional state and behavior pattern. When dealing with trauma related to his situation, CBT may be applied under controlled cognitive behavior therapy to nurture Chris in adapting to the situation. According to Beck, being reminded of trauma makes an individual adaptive to any future encounter, and being around the trauma story is frequently employed to assist the patient in lessening avoidance and unhealthy linkages with the event.

Limitation of CBT

A drawback of the Cognitive-Behavioral Theory is that it only highlights cognition, thus failing to include unconscious inputs toward behavior. In addition, it may be too simplistic to explain the often complicated interaction of thoughts, feelings, and conduct because human actions are based on many elements. Additionally, Cognitive-Behavioral Theory focuses on present elements and intrapersonal functions while overlooking social and cultural features crucial for personality formation.

In conclusion, the two theories describe Chris’s personality as the story’s protagonist in the movie “Get Out.” Combining these two approaches gives us a better picture of Chris’s intricate persona and what made him act and experience certain things. Nevertheless, it is important to accept the deficiencies of two theories – subjective character and exclusion of situation elements – so as not to be too biased. Following his disposition of friendliness, perceptiveness, and quick wit, Chris gets along with everyone around him and is always up for a talk. Irrespective of the individual he is with, he always strikes up a conversation. He has also cultivated deep connections with people with whom he can laugh. He can adjust to the circumstances that his girlfriend’s parent has put him in.

Cieri, F., & Esposito, R. (2019). Psychoanalysis and Neuroscience: The Bridge Between Mind and Brain.  Frontiers in Psychology ,  10 . https://doi.org/10.3389/fpsyg.2019.01983

Rajabi Majd, N., Broström, A., Ulander, M., Lin, C.-Y., Griffiths, M. D., Imani, V., Ahorsu, D. K., Ohayon, M. M., & Pakpour, A. H. (2020). Efficacy of a Theory-Based Cognitive Behavioral Technique App-Based Intervention for Patients With Insomnia: Randomized Controlled Trial.  Journal of Medical Internet Research ,  22 (4), e15841. https://doi.org/10.2196/15841

Cite This Work

To export a reference to this article please select a referencing style below:

Related Essays

Positive psychology and cognitive behavioral therapy in coaching and mentoring, academic and professional development, exploring the concepts of criminal justice, field experience: social policy essay, eve’s case study, apn learning theories and principles, popular essay topics.

• American Dream
• Artificial Intelligence
• Black Lives Matter
• Bullying Essay
• Career Goals Essay
• Causes of the Civil War
• Child Abusing
• Civil Rights Movement
• Community Service
• Cultural Identity
• Cyber Bullying
• Death Penalty
• Depression Essay
• Domestic Violence
• Freedom of Speech
• Global Warming
• Gun Control
• Human Trafficking
• I Believe Essay
• Immigration
• Importance of Education
• Israel and Palestine Conflict
• Leadership Essay
• Legalizing Marijuanas
• Mental Health
• National Honor Society
• Police Brutality
• Pollution Essay
• Racism Essay
• Romeo and Juliet
• Same Sex Marriages
• Social Media
• The Great Gatsby
• The Yellow Wallpaper
• Time Management
• To Kill a Mockingbird
• Violent Video Games
• What Makes You Unique
• Why I Want to Be a Nurse
• Send us an e-mail

68 Get Out (2017)

The horrors of black life in america in get out.

By Paige Mcguire

The film Get Out by Jordan Peele gives us a unique insight into the horrors of black mens life in America. His thriller, although it is somewhat dramatized shows how real and scary it is to be a man or woman of color. Throughout the film, we see multiple systemic racist issues and stereotypes. I plan on giving you an overview of the film and go into depth on a couple of scenes from the film and describe the issues they show relating to discrimination in film, as well as real life. Lastly, I will talk about Jordan Peele’s alternative ending as well as a short review of the film and how it changes the way we look at horror.

In Get Out we get a really interesting perspective into a black man named Chris’s life and his relationship with a white woman named Rose. In the beginning of the film, Chris and Rose are on their way to Rose’s parents’ house in the country for the weekend. They have a brief interruption when a deer runs out in front of them and clips their car. The police came to check out the scene and make sure everything was okay. However, they also asked Chris for his license and assumed he was suspicious due to the color of his skin. Fast forward, Chris and Rose make it to Rose’s parents’ estate. Their house is huge and comes with a pretty large amount of land.

Everyone in the family, including Chris, gather for a welcome lunch.  This is when Chris begins to initially become uncomfortable. Chris is starting to realize all of the help Rose’s family has around the house is of color. Rose’s dad does his best to explain to Chris that it is not “like that” they had just been with the family helping with the grandparents before they both passed. The next day Rose’s family hosts a huge friends and family get-together. This is probably one of the most important scenes of the whole movie, which we will get into more later. In this portion of the film everyone is coming up to introduce themselves to Chris with that however there are many subtle and not so subtle hints of racism. Chris finally sees someone at the gathering who is of color and approaches him in hopes of finding a friend. This scene turns dark when Chris notices the man seems off and isn’t acting like how a man Brookelyn would usually act. Chris snaps a picture of the man which sends him into a frenzy. The man tried to attack Chris, and screamed at him to “get out”.

After everything had calmed down with the man Chris still seemed unhappy. He and Rose go on a walk to cool down and talk while the rest of the people gather for “bingo”, or so Chris thought. Chris is able to convince Rose to leave because he isn’t comfortable. The two head back to the house to pack as everyone leaves the gathering. As Chris and Rose attempt to leave the house, things become tense. Rose can’t find the keys. This scene is where Rose reveals her true colors of actually trying to trap Chris. The family knocks Chris out using hypnosis which is previously used in the film. The entire time Rose and her family were trapping black men and women so they could brainwash them and use their bodies to live longer and healthier lives via a special brain transplant. They thought of  African-Americans as the most prime human inhabitants; they would be stronger, faster, and live longer in a black person’s body. Chris is able to fight against them and free himself. With the price of having to kill pretty much every person in his way. His friend from TSA shows up cause he knew something was fishy and was able to save him from the situation.

Now that you have gotten the basic overview of the film I want to investigate a couple of scenes from the film and explain their importance.  Starting off with the first scene where Chris is getting introduced at the gathering (43 min). This scene was where I felt as the viewer you started to see major examples of systemic racism. It seemed like every person who met Chris had something to say that could be taken offensively. In this scene they mostly used medium close-ups, showing primarily the upper half of the body. The cuts were pretty back and forth cutting from one person’s point of view in the conversation to the others. I feel like this kind of editing really adds to the scene in the fact that you can see one another’s reactions. This is important because some racist discussions occur. A couple examples are a man who said that “Black is in fashion” and a woman asked Rose in front of Chris if the sex was better. These are stereotypes that have been supported by film and other media for years and years. In fact Chapter 4 of Controversial Cinema: The films that outraged America , it brings up the fact that for many years black men and women were portrayed as more violent as well as more sexual. Equality in film is still something we’re working on today in general, and we are getting there but I think it’s important to see how much film and media have influenced us and given us a specific way that we view others. If the media is telling us to view black men as more sexual and aggressive it creates a stereotype in real life.

The second scene that I felt was really worth mentioning was when Chris and Rose go off to talk while the family plays “bingo” (59 min). The reason I say “bingo” is because they say they’re playing bingo, however when the camera begins to zoom out and pan across everyone sitting and playing you find out kind of a scary truth. In the beginning of the scene it starts off with a very tight close-up on Rose’s father, and it starts to zoom out from his face showing his gestures. Well obviously when you play bingo there is talking sometimes even yelling but no, it was dead silent. During this time Chris and Rose are off on a walk having an uncomfortable conversation. Chris feels like something is wrong, he’s not comfortable and would like to leave. The cameramen cut back and forth between these two scenes. AS the cut back to the bingo scene each time more and more of the actual scene is revealed. They are panning outward to show what they are actually doing, which is bidding on who gets to have Chris. A blind art critic ends up winning the bid, which means he will be getting to have Chris’s body to brain transfer into. There was a sort of foreshadowing earlier in the film when this man said that Chris had a great eye, this man quite literally wanted Chris’s eyes.

Now, this bidding and purchasing of people is not a new subject or idea to any of us. We should all be aware of slavery and the purchasing of African-Americans in history. That’s why I feel like it was an extra shock to see this is in this film, set in 2017. The hopes would be that stuff like slavery would not be happening anymore but I feel like Jordan Peele had a specific idea when writing this film to inform others of the struggles of African-Americans of every day and to realize that. Yes, this may be a very eccentric way of explaining it but people want the power of black people, and this is still a problem even if it’s not something on the news every day.

In fact, Jordan Peele had an alternative ending to this film that I felt like I truly needed to include. So, in the actual ending of Get Out Chris escapes the house and Rose comes after him. Chris ends up sparing her because he did love her at one point and couldn’t bring himself to do it. He sees a police car roll up, he puts up his hands and is greeted by his friend from TSA. Chris makes it out a free man. Peele revealed later that he decided to have a happier ending because at the time when the film was filmed was when Obama was still in the presidency and he had seen hope for the country. With that being said 2017 was the first year of Donald Trump’s presidency. Situations in the film like police brutality or racism via a policeman have since been more popular. So I think it’s important to include the alternate ending because Peele felt it was more realistic. So, in the alternate ending Chris makes it out of the house and Rose is coming after him. Chris instead of sparing Rose chokes her to death. A car rolls up, Chris puts his hands up and is greeted by the police. The police arrest him, and take him to jail. Now, Chris had basically been abducted, almost murdered, hypnotized, and more. Yet he was still sent to jail, this was because the house went up in flames. There had been no evidence.

In the world we live in I truly believe along with Peele that this would have been the actual outcome of the situation.  Unfortunately, our system is corrupt, and this is the type of outcome many black men and women face every day. We have seen situations like this many times this year with people like George Floyd, Breonna Taylor, Rayshard Brooks, Stephon Clark, and many many more. Awful things happen to people of color every day, and I truly believe that that was Peele’s goal to get this across to people. On Rotten Tomatoes, critic Jake Wilson made a remark saying “This brilliantly provocative first feature from comic turned writer-director Jordan Peele proves that the best way to get satire to a mass audience is to call it horror.” Honestly, I really agree with this statement. People don’t want to hear about bad stuff going on in the world especially if it doesn’t apply to them or their race. However, people go to see a thriller to see bad stuff happen, to be on their toes. This method of getting people to sit down to watch a thriller and have it show real problems is entirely the smartest thing I have ever seen.

In conclusion, the film Get Out really makes you think about the life of African-Americans from a new perspective. As a white person, I will never know truly what it’s like or the pressures that arise from being a person of color in society. All I can do is inform myself, and fight for change to be made. I think Jordan Peele is changing the way we see horror. More often than not a horror film is made up of characters and situations that realistically would never happen. Get Out shows problems from real-life situations at an extreme level but it forces people to sit down and actually, truly understand something larger than themselves.

Get Out (2017). (2017). Retrieved November 18, 2020, from https://www.rottentomatoes.com/m/get_out

Phillips, K. R. (2008). Chapter 4: Race and Ethnicity: Spike Lee’s Do the Right Thing. In Controversial cinema: The films that outraged America (pp. 86-126). Westport, CT: Praeger.

Difference, Power, and Discrimination in Film and Media: Student Essays Copyright © by Students at Linn-Benton Community College is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

Share This Book

A Critical Analysis Paper on the Movie: Get Out

I chose movie "Get Out" 2017. The requirement of essay Choose a Film OR TV Show (2+ episodes) directed by a black filmmaker/ artist OR that features a black performance artist in the leading role and write a 5-page paper (12-pt font, double spaced) analyzing how the main characters demonstrate the intersection of race, class, and gendered identities. How do the characters illustrate the concept of "diversity within blackness"? Does the use of drama, suspense, psychological thriller, comedy, satire, or irony reinforce or challenge negative stereotypes of blackness? If so, or if not, why? Please pay careful attention to how geographic location and historical context shape the characters' worldviews. Scroll down to see list of choices of films and TV series. Requirement of sources: Working annotated bibliography (also known as annotated Works Cited): You must include at least 5 sources that look promising, which will help you analyze the significance of race, class, gender, etc., identities of the characters included in the film or television series that you've selected. You MUST identify at least 2 primary sources (e.g. interviews with writer, director, producer or actors featured in film or television show that you're writing about) AND 3 scholarly sources. You may use books as scholarly sources and/ or you can use digital/electronic (web) materials, but 3 of them MUST be peer reviewed (scholarly) texts. (Consider article Herman Gray, Cultural Moves (Links to an external site.)Links to an external site.). This bibliography should be annotated. Please note regarding your annotated bibliography (a.k.a. "Works Cited" page). ONLY scholarly books on topics relevant to your main thesis AND/ OR articles found through academic databases, which have been published in peer-reviewed journals count as scholarly sources. I'm talking about databases like JSTOR and Project Muse. Use key terms to search under the categories of "Articles & More" on Miami U's library website: http://www(dot)lib(dot)miamioh(dot)edu/multifacet/books/academic+databases?field=text For NON-scholarly sources, you may also used articles found in reputable news publications such as The New York Times, Washington Post, The Atlantic, etc. I want the essay conduct by instruction, 5 body paragraphs, and conclusion. and each body paragraph have one source, and Do Not describe the movie a lot in the introduction.

Script Analysis: “Get Out” — Scene By Scene Breakdown

Scott Myers

Go Into The Story

Here is my take on this exercise from a previous series of posts — How To Read A Screenplay :

After a first pass, it’s time to crack open the script for a deeper analysis and you can do that by creating a scene-by-scene breakdown. It is precisely what it sounds like: A list of all the scenes in the script accompanied by a brief description of the events that transpire. For purposes of this exercise, I have a slightly different take on scene. Here I am looking not just for individual scenes per se, but a scene or set of scenes that comprise one event or a continuous piece of action. Admittedly this is subjective and there is no right or wrong, the point is simply to break down the script into a series of parts which you then can use dig into the script’s structure and themes.

The value of this exercise:

• We pare down the story to its most constituent parts: Scenes.
• By doing this, we consciously explore the structure of the narrative.
• A scene-by-scene breakdown creates a foundation for even deeper analysis of the story.

Today: Get Out (2017) . You can download a PDF of the script here .

Written by Jordan Peele.

IMDb plot summary: It’s time for a young African-American to meet with his white girlfriend’s parents for a weekend in their secluded estate in the woods, but before long, the friendly and polite ambience will give way to a nightmare.

Get Out Scene-By-Scene Breakdown By David Joyner gointothestory.blcklst.com 1–3 Andre (Lakeith Stanfield) is a young black man walking alone at night, lost in an affluent white neighborhood. He’s kidnapped. This Andre is the same one we meet later in the film (and on page 49 of the script), though his manner and appearance are different, and his name changed to Logan. Title card. 4–6 While packing for the trip, Rose and Chris discuss her (white) parents in Chris’ apartment. Chris asks if she has told them that he is black. No, she hasn’t. We also are told she has told him that he’s the first black man she’s dated. Later, this is revealed to be a lie. 7–10 Chris and Rose leave in Rose’s car (and she’s driving). In the car, the discuss Rose’s family and Chris calls Rod on his cell phone. (Shot as an intercut.) We learn Rod is a TSA agent (who happens to have excellent comedic timing). In the script, Rod is more flirtatious towards Rose than in the film. After hanging up with Rod, Chris and Rose flirt and get a little silly. 10–13 Their flirtation is suddenly interrupted when Rose’s car hits a deer. It doesn’t die immediately and Chris appears more hurt than Rose. An officer arrives and asks Rose for her driver’s license. She complies. He then asks Chris for his. Rose objects strenuously, since he wasn’t driving. Chris appreciates the support. There are two police in the script but only one in the film. 14–17 Chris and Rose arrive at the Armitage estate, a large house in the country surrounded by lots of woods and no neighbors in sight. They pass Walter, a black groundskeeper, as they follow the long driveway to the home. Rose’s dad Dean, a surgeon, has a good sense of humor but “poor social filter”. Rose’s mom Missy, a psychiatrist, is described in the script as intelligent and able to “read people like a book.” Rose and Chris sit in the living room and have awkward small talk with Dean and Missy. They discuss the deer. Dean is happy to hear it’s dead. Missy is more understanding. We learn Chris and Rose have arrived on the weekend of a big family get-together/party. Rose seems to have forgotten and seems to regret bringing Chris during such an eventful weekend. (In the film, Dean next takes Chris on a tour of the house and his backyard. In the script, Rose and Chris go upstairs to unpack, with the tour coming later.) 18 Chris and Rose unpack in Rose’s bedroom. (While the bedroom is decorated with her childhood stuffed animals, we were told during the drive up by Rose that her parents only moved there in the past several years, when Rose presumably lived elsewhere.) 19–21 Dean takes Chris on a tour of the house and his backyard. We learn that Dean’s (white) dad was an Olympic-quality sprinter beaten by Jesse Owens in the 1936 Olympic qualifiers. As Dean says, “He almost got over it.” 22–25 Chris and Rose talk to Dean and Missy on the outside patio. They discuss Chris’ skill as a photographer (also shown during the opening credits) and Missy’s skills as a hypnotist (Dean brags she helped him quit smoking and she offers to help Chris the same way). Georgina, the black housekeeper, serves them and acts odd. Peele’s dialog and skillfully written scenes places us in a world where it Rose is a typical loving supportive girlfriend with a strange but harmless parents. 26–30 Jeremy, Rose’s brother arrives. They are all drinking but Jeremy gets uncomfortably aggressive towards Chris. Dean assertively tells Jeremy to back off. Jeremy talks a wine bottle with him as he leaves the room. 31–32 Chris and Rose discuss Jeremy in Rose’s bedroom. Rose appears quite angry at Jeremy and affectionate towards Chris. 33–34 Chris sneaks outside in the middle of the night for a cigarette. He’s scared by Walter the groundskeeper (in work clothes) who ran straight towards him then broke away at the last second. He’s startled by Georgina making a toothy grin in a window. It turns out she’s just checking her teeth in the reflection. 35–41 Chris sneaks back into the house, only to discover Missy awake, dressed, and in her office. She invites him in. They chit-chat before he agrees to let her hypnotize him to stop his cigarette urges. In this long, tension-filled scene, the hypnosis is intercut with memories of Chris as an 11-year old, brought up by Missy as she clinks her snoop against her tea-cup. (This sound, we learn later, causes Chris to enter a hypnotic state.) The scene ends with Chris, catatonic in his hypnotic state, eyes open in helpless terror, as Missy says “Now you are in the Sunken Place.” 42 Chris wakes up in bed. Rose is in the shower (her bedroom has its own bathroom). Chris gets a text message from Rod with a pic of Chris’s dog. Chris plugs in his phone into the charger as it’s low on power. (Later, Chris discovers Georgina has unplugged it.) 43–44 Chris takes his camera outside in the morning sun and talks to Walter, who’s working (chopping wood in the film). They have an awkward conversation. (For example, Walter says Rose is “One of a kind; top of the line. A real doggone keeper.”) 45–46 Back in Rose’s bedroom, Chris tells Rose that he thinks Missy hypnotized him. He doesn’t remember it but now he’s repulsed by the idea of smoking and he had some weird dreams. Rose seems upset by this news. However, they notices outside the window that cars are arriving for the big party. 47–49 Chris and Rose wander through the party crowd. Mostly, they are old white people. In each conversation, the old couples say something racially insensitive. (Remember, we are seeing all this from Chris’ POV. We don’t realize until later that Chris is really on sale, and these people are potential buyers.) 50–51 Chris spots Andre from the 1st scene at the bar making himself a drink. Due to his new appearance, Chris does not recognize Andre (who he actually knows, as a friend of Rod’s). (Nor did I recognize him as the same actor from the 1st scene.) Andre’s new name is Logan and he appears to be romantically attached to a much older white woman, Philomena. 52 Dean makes a strange welcoming speech in which he points out Chris specifically to everyone and then talks about the “Templar” and “knights of old”. 53–54 Chris wanders around taking shots with his camera and runs into Jim, a old blind gallery owner who is an admirer of Chris’ work. (It’s later revealed that Jim is Chris’ buyer.) 55 Jeremy gets Chris to play badminton with him. The crowd ogles Chris uncomfortably. (If memory serves, no pun intended, this scene was cut from the film.) 56–57 Chris goes to Rose’s bedroom to get his cell-phone, which has been unplugged. He sees Georgina near the bedroom and suspects her. Rose joins Chris. Chris tells Rose about the cell-phone being unplugged. She acts upset by it. Chris says he’ll meet her later and that he just wants to talk to Rod and see how his dog is doing. 58–59 Chris talks to Rod. Extremely funny convo about the weird things Chris has experienced. 60 Chris has an awkward conversation with Georgina where she seems to apologize about unplugging his phone. Chris talks his cellphone and leaves. 61–63 Chris walks into the party crowd. Dean makes him feel uncomfortable by introducing him to lots of people. One of them asks Chris about “advantages or disadvantages” of “being African American”. Chris is frozen in shock over the strangeness of the situation. Chris sees Andre/Logan and asks him to answer. Andre answers in such an odd manner that Chris decides to take a picture of him with his cellphone. The cell-phone flash goes off. Andre changes his tone and screams at Chris “Get the fuck out of here!” 64–65 Chris, Rose, Dean wait in the living room for Missy to finish treating Andre/Logan. Dean claims A/L had a seizure. Rose seems to be on Chris’ side, as she appears skeptical. Missy and A/L enter from Missy’s office. Acting embarrassed, A/L apologizes and leaves with Philomena. At this point, Chris might be recognizing Andre as a friend of Rod’s. Chris and Rose leave to take a walk. 66–69 In the woods alone, Chris tells Rose “That wasn’t a seizure.” Chris says he wants to go. Rose seems to be confused but supportive. She says they will make up an excuse and then leave. 66–69 Intercut with the convo between Chris and Rose is a silent bidding war for Chris by the rich whites are the party. People hold up fingers or bingo cards in the silent language they use. No words are used. 70 As Chris and Rose walk back to the house they see the party has broken up and the guests are leaving. 71 In the bathroom, alone, Chris sends Rod the cellphone pic he took of Andre and they talk. Their very funny convo is interrupted by Chris’ cellphone dying. 72–73 In Rose’s bedroom, Chris and Rose pack to leave. When Rose leaves to get a bag, Chris stumbles on a box of photos of Rose with friends. One is a pic of Rose and black boyfriends, including Walter the groundskeeper, strongly suggesting Rose has lied to him. Rose returns and they finish packing. Rose can’t find her car keys. She says they are in their bags somewhere, pick up their bags and leave. 74–75 As they come down the stairs, Chris is confronted by Missy, Dean and, by the door with his lacrosse stick, Jeremy. Rose and Chris make a lame excuse why he must go. After a brief tense discussion, Chris says “Rose! The keys!” and Rose replies “You know I can’t give you the keys.” (In the film, she holds the keys in her hands to prove she has found them.) The scene ends with the TING-TING of Missy’s spoon against her tea cup. 76–77 Jeremy, Rose, Missy, Dean take Chris downstairs. 78 Rod tries to call Chris but it always goes to voice-mail. He starts a computer search for Andre, based on the cellphone pic he got from Chris. 79 Chris wakes up in the basement, tied to a chair in front of a TV and near a mounted deer with antlers. The TV in front of Chris turns on and shows a tea cup. TING TING. Chris falls asleep. 80–82 Rod sits with a skeptical (female) police detective. After telling her about Chris and Sid (who he has with him) and Andre, Rod explains his theory that Chris was kidnapped by a bunch of whites who are kidnapping young black men to be used as sex slaves. She calls in two more detectives and has Rod repeat his theory. The detectives break out laughing. 83 Chris wakes up in the basement, tied to a chair in front of a TV thinking out loud about what’s happened to him. He scratches on the arm of the chair he’s tied to. The TV in front of Chris turns on and shows a tea cup. TING TING. Chris falls asleep. 84–85 Rod calls Chris’ cellphone again. Rose answers. The call is intercut. She claims Chris left already but forgot his phone. “Wait. You haven’t seen him?” Rod is convinced she’s lying and starts to record the phone call. When Rose starts to flirt with Rod, he hangs up on her. 86–87 Chris wakes up in the basement, tied to a chair in front of a TV. The TV turns on to a tape of Roman Armitage (Rose’s grandpa, deceased). Roman explains in soothing tones Chris’ horror that is about to be real. 88 The TV turns on to a live broadcast of Jim (the old blind gallery owner) explaining the procedure in more detail. (If memory serves, this scene was cut from the film.) 89 Chris wakes up in the basement, tied to a chair in front of a TV. The TV in front of Chris turns on and shows a tea cup. Chris says “No, no.” TING TING. Chris falls asleep. 90 Jim is on an operating table. Dean and Jeremy are in scrubs. Dean starts the brain surgery on Jim, with Jeremy assisting. Jeremy leaves to get Chris. We hear (presumably O.C. or V.O. but the script format does not indicate this) Jim talk to Chris (in a continuation of their convo started on page 88). 91 Jeremy untied the seemingly unconscious Chris the goes to turn off the TV. Chris hits him over the head, knocking Jeremy out. Chris takes cotton earplugs out of his ears. 92 Dean removes the top of Jim’s cranium then waits for Jeremy. Impatient, Dean goes out of the operating bay (a room in the basement) looking for Jeremy. Chris stabs Dean in the chest with the antlers of the mounted deer. 93 Chris comes upstairs, covered with Dean’s blood. He enters Missy’s office. She is there. A tea cup and spoon is on the table between them. They sprint for it, Chris wins, smashing it to the floor. Missy stabs him in the hand with a letter opener. Missy and Chris struggle more until he (off screen) subdues her. When Chris is about to walk out the front door, Jeremy comes out of nowhere, putting him in a choke hold. Each time Chris tries to open the front door, Jeremy kicks it shut. Chris tries once more but this time, as Jeremy brings up his leg for the kick, Chris stabs it with the letter opener. Jeremy falls, Chris breaks the hold and (off camera) kicks Jeremy in the head several times. Chris grabs Jeremy’s car keys. 94 Chris takes off in Jeremy’s sports car (the same car that was used to kidnap Andre in the 1st scene). Out of nowhere, Georgina runs in front of the car and Chris hits her so hard she bounces up and over the car, landing in the driveway behind him. After a flashback (not indicated in the script formatting) to his youth when he thinks his inaction as an 11 year old may have killed his mom, Chris decides to stop and help Georgina by putting her in the passenger seat. Meanwhile, Rose has been listening to music in her bedroom with headphones (in the film, surfing the internet for good looking young black guys). After this crash into Georgina, Rose takes off her headphones, thinking she’s heard something. 95 Rose comes out of the house carrying a rifle. Rose yells “Grandma” (referring to Georgina). Chris floors it just as Georgina wakes up. She attacks him, causing his to crash into a tree. The impact kills Georgina. Rose shoots at Chris in the car, missing him. He crawls out of the car as she reloads. Walter, who is really grandpa Roman, runs from the house to stop Chris. 96 Walter/Roman easily catches Chris and holds him on the ground. Rose approaches with the loaded rifle to finish Chris off. Chris pulls out his cellphone, firing a flash into W/R’s eyes. W/R looks at Rose behind him and asks for the gun. She gives him the rifle. W/R shoots Rose in the stomach then shoots himself in the head. 97 Sirens approach from the distance but Rose is not dead. She and Chris struggle for the gun. Chris gains the upper hand and starts to strangle Rose to death. As she is about to die, he stops. A patrol car with sirens and flashing lights pulls up. Rose screams “Help! He’s trying to kill me.” Chris gets up, with his hands in the air. Rod gets out of his TSA patrol car, yelling, “Oh shit, Chris!” 98 As Chris gets into the passenger seat, Rod says “I told you to get the fuck out”.

Writing Exercise: I encourage you to read the script, but short of that, if you’ve seen the movie, go through this scene-by-scene breakdown. What stands out to you about it from a structural standpoint?

To download a PDF of the breakdown for Get Out , go here .

Major kudos to David Joyner for doing this week’s scene-by-scene breakdown.

For 100s more movie script scene-by-scene breakdowns, go here .

For an in-depth analysis of Get Out, go here .

Written by Scott Myers

More from scott myers and go into the story.

Script Download Links

100+ scripts made available by studios and production companies., daily dialogue —march 1, 2017, harry: wait a minute ron: you understand why, harry once i make my move, the queen will take me. then you’re free to check the king….

“Definitive List of Cliched Dialogue”

100 Scene-Writing Prompts

At a fundamental level, screenwriting is scene-writing. use these prompts to improve your scene-writing chops., recommended from medium.

Story and Plot

Character is story. Story is character.

I am a big believer in repeating core principles. honestly, there are always plenty of small details to discuss, but the answer to most….

Reflections on Carl Jung : Psychological Rule as Fate’

Carl jung’s theory of individuation is directly applicable to the protagonist’s journey in a screenplay..

My Favorite Writing Advice & Inspo

My Kind Of Medium (All-Time Faves)

Our favorite writing prompts and inspiration

Best of The Writing Cooperative

Cory Doctorow

The seductive, science fictional power of spreadsheets

Maybe the map is the territory.

Oliver Vanice

How To Use Theme To Craft Your Story

Understanding the most misunderstood term in cinema.

Andrew Stanton TED Talk: “Clues to a Great Story”

A 10-part series analyzing the pixar writer-director’s ted talk..

30 Things About Screenwriting: A spec script will not sell unless it has a strong story concept

If you write a spec script based upon the first story idea that comes into your mind, that script likely won’t sell..

Text to speech