Commodification Of The Black Body In Get Out By American Geele

Jordan Peele’s Get Out (2017) is a groundbreaking horror film that uses its genre to explore racial anxieties and the experience of Black individuals in a predominantly white society. With its sharp social commentary and use of classic horror tropes, the film examines the commodification of the Black body, systemic racism, and the often-insidious nature of white liberal complicity in racism Camille's article provides an in-depth exploration of the commodification of the Black body in Get Out. Camille argues that the film critiques how Blackness is often fetishized and commodified by white society, pointing to the auction scene in which Chris, the protagonist, is sold to the highest bidder as an example. He links this to a broader historical

Camille’s article was created to shed light on a key theme in Get Out—the way Black bodies are commodified within white culture, both in overt and subtle ways. Written within a cultural moment where discussions of race, systemic racism, and representation in media were becoming more prominent, Camille's work responds to an urgent need to understand how films like Get Out reflect and critique ongoing racial dynamics in America. The primary audience for Camille’s article appears to be scholars, students, and enthusiasts of film studies and critical race theory. Those interested in the intersection of media, representation, and racial politics will find this source particularly insightful. Additionally, readers invested in analyzing how horror films reflect social realities, and racial tensions would also benefit from Camille's arguments. One constraint on the effectiveness of Camille’s article might be its academic tone and specific focus on critical

The argument is well-structured, beginning with a broad exploration of racial commodification and then focusing on how Peele uses horror conventions to address this theme. Camille effectively connects the film’s symbolism, such as the literal possession of Black bodies through the Coagula procedure, to real-world racial dynamics. This logical progression helps the reader see how Get Out reflects systemic racial issues beyond the narrative of the film itself. Get Out elicits various emotions, from fear and discomfort to outrage and empathy. Camille argues that the film creates a specific feeling of horror linked to the racial experiences of Black individuals in white spaces. The discomfort viewers feel stems from witnessing Chris’s gradual realization that his safety and autonomy are at risk, despite the seemingly welcoming demeanor of the Armitage family. Camille highlights how the film plays on the fear of being objectified, fetishized, or commodified—experiences many Black viewers may relate to. The horror Chris experiences is not just about physical danger, but about the erasure of his identity and autonomy, which amplifies the film’s emotional