In its attention to the undead state of American slavery, Jordan Peele’s film Get Out (2017) appears to fulfill Stephen Best’s diagnosis of a “melancholy historicism” in recent Black cultural production. But instead, the film draws viewers into a virtual experience—and potential analysis—of the roles of both technological and environmental media (from TV, film, and cellphones to housing, ceramics, and cotton) in perpetuating, or disrupting, Black captive kinship to a state of originary loss.
Jordan Peele’s Get Out and the Mediation of History
Susan Scott Parrish is Professor of English and the Program in the Environment at the University of Michigan, where she is also Chair of the Michigan Society of Fellows. She researches the history of how races and environments have been mutually constituted in North America since the colonial period. She has written The Flood Year 1927: A Cultural History (Princeton, 2017) and American Curiosity: Cultures of Natural History in the Colonial British Atlantic World (Chapel Hill, 2006). She has edited the forthcoming Norton Critical Edition of Faulkner's Absalom, Absalom! and co-edited the forthcoming Cambridge Companion to American Literature and the Environment.
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Susan Scott Parrish; Jordan Peele’s Get Out and the Mediation of History. Representations 1 August 2021; 155 (1): 110–138. doi: https://doi.org/10.1525/rep.2021.155.5.110
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