Getting the Final Girl Out of Get Out.
Get Out does not conform to the general expectations of horror films but instead plays with, inverts, and makes light of horror tropes. The slasher subgenre is a recognizable form that recurs in the public imaginary, but what we see in this film is repetition with a difference that reveals how recur...
| Publicado en: | Women's Studies in Communication Vol. 44; no. 3; pp. 323 - 340 |
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| Formato: | Artículo |
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Organization for Research on Women & Communication
Aug2021
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=152097203&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 152097203 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07491409 WSC jtl: Women's Studies in Communication issn: 07491409 maglogo: N pubinfo: dt: Aug2021 vid: 44 iid: 3 pid: 2403 pub: Organization for Research on Women & Communication artinfo: ui: 152097203 10.1080/07491409.2020.1834035 ppf: 323 ppct: 17 formats: tig: atl: Getting the Final Girl Out of Get Out. aug: au: Wilz, Kelly affil: Division of Communication, University of Wisconsin–Stevens Point, Stevens Point, Wisconsin, USA su: Final Girl (Film) Horror films Masculinity White supremacy Racism in motion pictures sug: subj: Final Girl (Film) Horror films Masculinity White supremacy Racism in motion pictures keyword: Final Girl Get Out masculinity slasher films transcoding white supremacy ab: Get Out does not conform to the general expectations of horror films but instead plays with, inverts, and makes light of horror tropes. The slasher subgenre is a recognizable form that recurs in the public imaginary, but what we see in this film is repetition with a difference that reveals how recurring patterns can be reiterated in destabilizing ways. Here the "return of the repressed" is monstrous whiteness and white supremacy, which have been denied, or disavowed, in a "postracial" culture. When they return, they literally consume Black bodies, commandeering them for white use. Through this reading of Get Out, I intend to rethink the trope of the "Final Girl" as it is positioned within the slasher subgenre and to consider how that position not only provides context for current political moments but also shifts in the horror genre itself. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2021 holdings: @attributes: islocal: N |
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