{"id":42481,"date":"2019-04-04T12:55:07","date_gmt":"2019-04-04T12:55:07","guid":{"rendered":"http:\/\/www.jomec.co.uk\/intercardiff\/?p=42481"},"modified":"2019-04-04T12:55:07","modified_gmt":"2019-04-04T12:55:07","slug":"us-thought-provoking-dissection-duality-heart-american-society","status":"publish","type":"post","link":"https:\/\/cardiffjournalism.co.uk\/intercardiff\/business-culture\/us-thought-provoking-dissection-duality-heart-american-society","title":{"rendered":"&#8216;Us&#8217;: a provocative dissection of the duality at the heart of American society"},"content":{"rendered":"<h2><span style=\"font-weight: 400\">Jordan Peele\u2019s follow<\/span><span style=\"font-weight: 400\">&#8211;<\/span><span style=\"font-weight: 400\">up to cultural phenomenon <\/span><i><span style=\"font-weight: 400\">Get Out <\/span><\/i><span style=\"font-weight: 400\">uses the horror genre to put America under the microscope. What conclusions does it draw? \u00a0\u00a0<\/span><\/h2>\n<figure id=\"attachment_42485\" aria-describedby=\"caption-attachment-42485\" style=\"width: 625px\" class=\"wp-caption alignnone\"><img decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-42485\" src=\"https:\/\/cardiffjournalism.co.uk\/intercardiff\/wp-content\/uploads\/sites\/12\/2019\/04\/poster-625x351.jpg\" alt=\"\" width=\"625\" height=\"351\" \/><figcaption id=\"caption-attachment-42485\" class=\"wp-caption-text\"><noscript><img decoding=\"async\" class=\"size-medium wp-image-42485\" src=\"https:\/\/cardiffjournalism.co.uk\/intercardiff\/wp-content\/uploads\/sites\/12\/2019\/04\/poster-625x351.jpg\" alt=\"\" width=\"625\" height=\"351\" \/><\/noscript> Jordan Peele follows up his hugely successful debut feature <em>Get Out<\/em> with the provocative and thrilling horror film <em>Us<\/em>.<\/figcaption><\/figure>\n<p><span style=\"font-weight: 400\">Given how comedian Jordan Peele reinvented his image with the acclaimed social-horror thriller <\/span><i><span style=\"font-weight: 400\">Get Out,\u00a0<\/span><\/i><span style=\"font-weight: 400\">inventing new cultural shorthands for the experience of black Americans (the unforgettable \u201csunken place\u201d) and garnering himself <\/span><span style=\"font-weight: 400\">a<\/span><span style=\"font-weight: 400\"> Best Original Screenplay Oscar in the process, expectations were very high for his sophomore feature <\/span><i><span style=\"font-weight: 400\">Us.\u00a0<\/span><\/i><\/p>\n<p><span style=\"font-weight: 400\">Another film promising to exploit the potential of the horror genre to examine social issues (the title can be read multiple ways), the bar that\u00a0<\/span><i><span style=\"font-weight: 400\">Us\u00a0<\/span><\/i><span style=\"font-weight: 400\">had to clear in accomplishing the same level of cultural relevance and cementing Peele as a new auteur was very high.<\/span><\/p>\n<p><span style=\"font-weight: 400\">The film opens with a haunting and beautifully shot prologue set in 1986, in which a family visit a nighttime beach carnival. While her father is distracted, the daughter<\/span><span style=\"font-weight: 400\">,<\/span><span style=\"font-weight: 400\"> Adelaide<\/span><span style=\"font-weight: 400\">,<\/span><span style=\"font-weight: 400\"> wanders off on her own and enters an empty Hall of Mirrors attraction. There, she encounters something horrifying.<\/span><\/p>\n<p><span style=\"font-weight: 400\">Cut to the present day, in which Adelaide (now played by Lupita Nyong\u2019o) is vacationing with her husband Gabe (Winston Duke) and two children at their summer home. While the family seems to have a well-functioning relationship, there is an underlying tension: they are near the beach where the traumatic event occurred, something she has never discussed with anyone.<\/span><\/p>\n<p><span style=\"font-weight: 400\">Soon after, strange coincidences and disturbing images begin to pile up, culminating in the appearance of a strange family in their driveway.<\/span><\/p>\n<p>On first viewing, <em>Us<\/em>\u00a0may\u00a0seem a messier, less well-honed effort than <i>Get Out <\/i>was, in the manner of many second features. It has a more expansive feel, and its subtext is not as easy to decipher.<\/p>\n<figure id=\"attachment_42493\" aria-describedby=\"caption-attachment-42493\" style=\"width: 625px\" class=\"wp-caption alignnone\"><img decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-42493\" src=\"https:\/\/cardiffjournalism.co.uk\/intercardiff\/wp-content\/uploads\/sites\/12\/2019\/04\/jordan-peele-625x351.jpg\" alt=\"\" width=\"625\" height=\"351\" \/><figcaption id=\"caption-attachment-42493\" class=\"wp-caption-text\"><noscript><img decoding=\"async\" class=\"size-medium wp-image-42493\" src=\"https:\/\/cardiffjournalism.co.uk\/intercardiff\/wp-content\/uploads\/sites\/12\/2019\/04\/jordan-peele-625x351.jpg\" alt=\"\" width=\"625\" height=\"351\" \/><\/noscript> Comedian Jordan Peele has established himself as a modern horror auteur with his Oscar-winning <em>Get Out<\/em> and newly-released <em>Us<\/em>. \u00a9\u00a0<a class=\"owner-name truncate\" title=\"Go to Kevin Edwards's photostream\" href=\"https:\/\/www.flickr.com\/photos\/keved\/\" data-track=\"attributionNameClick\">Kevin Edwards<\/a>. (cropped)<\/figcaption><\/figure>\n<p><i>Get Out\u2019s\u00a0<\/i>central metaphor made explicit the effects of subtle, toxic forms of racism camouflaged under a patronising liberal veneer.<\/p>\n<p><i><span style=\"font-weight: 400\">Us<\/span><\/i><span style=\"font-weight: 400\"> clearly\u00a0<\/span><span style=\"font-weight: 400\">i<\/span><span style=\"font-weight: 400\">nvites similar levels of scrutiny: \u201cWe\u2019re Americans\u201d goes one key line. Like <\/span><i><span style=\"font-weight: 400\">Get Out<\/span><\/i><span style=\"font-weight: 400\">, when the central threat is explained, it turns out to be based on a high-concept idea that is clearly intended to be read as allegory.<\/span><\/p>\n<p><span style=\"font-weight: 400\">However, the allegory seems to represent a more abstract, universal form of horror than that of <\/span><i><span style=\"font-weight: 400\">Get Out.<\/span><\/i><\/p>\n<p><span style=\"font-weight: 400\">The film, on some level, is about the uneasiness of living a comfortable life, despite, or perhaps because of, the suffering of those with less.<\/span><\/p>\n<p>Particularly revealing might be the portrayal of the central family\u2019s relationship with another more affluent, white family. Gabe\u2019s efforts to compete with his friend\u2019s signs of wealth are portrayed in a light-hearted fashion; however, in retrospect they take on a different register, as the chasms between social groups are given horrific life.<\/p>\n<p>In fact, many other things take on more significance in retrospect. Only later does it become possible to appreciate how subtly Peele weaves key hints into the narrative, with off-hand comments and visual clues (watch out for 11:11) having more significance than a casual viewer might guess.<\/p>\n<figure id=\"attachment_42503\" aria-describedby=\"caption-attachment-42503\" style=\"width: 625px\" class=\"wp-caption alignnone\"><img decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-42503\" src=\"https:\/\/cardiffjournalism.co.uk\/intercardiff\/wp-content\/uploads\/sites\/12\/2019\/04\/get-out-625x351.jpg\" alt=\"\" width=\"625\" height=\"351\" \/><figcaption id=\"caption-attachment-42503\" class=\"wp-caption-text\"><noscript><img decoding=\"async\" class=\"size-medium wp-image-42503\" src=\"https:\/\/cardiffjournalism.co.uk\/intercardiff\/wp-content\/uploads\/sites\/12\/2019\/04\/get-out-625x351.jpg\" alt=\"\" width=\"625\" height=\"351\" \/><\/noscript> <em>Get Out<\/em> proved an instant sensation with its acidic take on contemporary US race relations. \u00a9\u00a0<a class=\"owner-name truncate\" title=\"Go to BagoGames's photostream\" href=\"https:\/\/www.flickr.com\/photos\/bagogames\/\" data-track=\"attributionNameClick\">BagoGames<\/a>\u00a0(cropped)<\/figcaption><\/figure>\n<p><span style=\"font-weight: 400\">There is also a key twist that deepens the issues raised, forcing viewers to reevaluate everything they have seen.<\/span><\/p>\n<p><span style=\"font-weight: 400\">For those not interested in deeper significance, the film works well as a thrill ride, with a strong vein of <\/span><span style=\"font-weight: 400\">humour<\/span><span style=\"font-weight: 400\"> running alongside its well-executed suspense set-pieces. Like <\/span><i><span style=\"font-weight: 400\">Get Out,\u00a0<\/span><\/i><span style=\"font-weight: 400\">it&#8217;s an accessible film for people with little fondness for horror cinema, even as Peele\u2019s clear affection and respect for the genre emanates from every frame.<\/span><\/p>\n<p><span style=\"font-weight: 400\">The performances are uniformly strong, with Nyong\u2019o given a welcome opportunity to demonstrate her range with two wildly-different roles.<\/span><\/p>\n<p><span style=\"font-weight: 400\">Peele also demonstrates his growing ambition as a filmmaker, with expertly executed instances of cross-cutting towards the end that brilliantly underline the central duality at the heart of the film.<\/span><\/p>\n<p><span style=\"font-weight: 400\">Perhaps most crucially, it is a film that lingers, and that will surely inspire many conversations about its deeper meanings and symbolism among filmgoers with a passion for mainstream cinema with some substance. \u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Jordan Peele\u2019s Get Out illustrated the potential of the horror genre to dissect American society. Does his latest match its insight? <\/p>\n","protected":false},"author":484,"featured_media":42485,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[5],"tags":[],"coauthors":[725],"class_list":["post-42481","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-business-culture"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>&#039;Us&#039;: a provocative dissection of the duality at the heart of American society - InterCardiff<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"&#039;Us&#039;: a provocative dissection of the duality at the heart of American society - InterCardiff\" \/>\n<meta property=\"og:description\" content=\"Jordan Peele\u2019s Get Out illustrated the potential of the horror genre to dissect American society. 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