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Abstract
This article demonstrates that Get Out, rather than being Peele’s only film that does not invoke or cite the Hebrew Bible, is the film that engages it most extensively. I argue that the final cut of Get Out is consistent with Peele’s two subsequent films, Us and Nope, through its extensive engagement with the biblical legacy it inherits from earlier literary works.
The article begins by exploring the use of biblical texts, themes, and imagery within Peele’s larger canon. This article then proceeds to locate Get Out within a longer creative trajectory that includes Milton’s Paradise Lost and Mary Shelley’s Frankenstein. By examining Get Out alongside its predecessors, we can see that Peele builds on and overturns earlier engagements with Genesis 2–3. In so doing, the film remains consistent with Peele’s otherwise prominent uses of biblical citation within his films, and also strategically departs from the creative lineage in which it participates by exploiting the generative features of the horror genre as a rhetorical device capable of countering cultural hegemony.
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| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 237 | 237 | 10 |
| Full Text Views | 26 | 26 | 1 |
| PDF Views & Downloads | 74 | 74 | 6 |
Search for other papers by Eric X. Jarrard in
Current site
Google Scholar
PubMed
Abstract
This article demonstrates that Get Out, rather than being Peele’s only film that does not invoke or cite the Hebrew Bible, is the film that engages it most extensively. I argue that the final cut of Get Out is consistent with Peele’s two subsequent films, Us and Nope, through its extensive engagement with the biblical legacy it inherits from earlier literary works.
The article begins by exploring the use of biblical texts, themes, and imagery within Peele’s larger canon. This article then proceeds to locate Get Out within a longer creative trajectory that includes Milton’s Paradise Lost and Mary Shelley’s Frankenstein. By examining Get Out alongside its predecessors, we can see that Peele builds on and overturns earlier engagements with Genesis 2–3. In so doing, the film remains consistent with Peele’s otherwise prominent uses of biblical citation within his films, and also strategically departs from the creative lineage in which it participates by exploiting the generative features of the horror genre as a rhetorical device capable of countering cultural hegemony.
| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 237 | 237 | 10 |
| Full Text Views | 26 | 26 | 1 |
| PDF Views & Downloads | 74 | 74 | 6 |
