ABSTRACT

Jordan Peele’s (2017) Get Out presents a political critique of American post-racial discourse. Using Brian Massumi’s concept of affective fact, I articulate how the film navigates a post-race perception of racially motivated threat as solely affective and immaterial in relation to the actual enactment of violence onto the racialized body in contemporary America. I locate this film in the theoretical lineage of contemporary Black radical thought, with particular emphasis on Saidiya Hartman’s concept of fungibility and Stefano Harney’s and Fred Moten’s concept of fugitivity. By analyzing scenes that inaugurate the film’s study of threat, surveillance, and state-mandated control, I argue that Get Out reveals how apparatuses of racial violence intertwine with what Harney and Moten call state-thought. I conclude that Get Out should be read as a commentary on Black cinema and Black aesthetics, particularly how Black aesthetics forms itself against, within, and around neoliberal political discourse.

摘要

乔丹·皮尔 (Jordan Peele) 的 (2017)出柜提出了对美国后种族话语的政治批评。使用布赖恩·马苏米的情感事实概念，我阐明了这部电影如何驾驭种族动机威胁的赛后感知，与当代美国对种族化身体的实际暴力行为相关，它只是情感性的和非物质性的。我将这部电影定位在当代黑人激进思想的理论谱系中，特别强调赛迪娅·哈特曼的可替代性概念以及斯特凡诺·哈尼和弗雷德·莫滕的逃亡概念。通过分析开启电影对威胁、监视和国家强制控制研究的场景，我认为《走出去》揭示了种族暴力的机器如何与哈尼和莫滕所谓的国家思想交织在一起。我的结论是，《走出去》应该被解读为对黑人电影和黑人美学的评论，尤其是黑人美学如何在反对、内部和围绕新自由主义政治话语中形成自己。