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Mary Shelley, the Industrial Revolution, Karl Marx
Imagine it is 2016. Clinton is still ahead in the polls, she has every hope of gaining the White House. One night she dreams she has won, and, just as she steps into the Oval Office she glances in a mirror to find, glaring back at her, none other than Trump.
Trump’s presence in the White House is the eruption of what I shall go on to explore as the uncanny; a rupture of form; an intrusion of something monstrous into the heart of the body politic.
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“Polysemy (from Greek: πολυ-, poly-, "many" and σῆμα, sêma, "sign"), the capacity for a sign, such as a word, phrase, or symbol, to have multiple meanings, usually related by contiguity of meaning within a semantic field.” – definition adapted from Wikipedia
“If you cannot convince a fascist, acquaint his head with the pavement.” – Gritty (probably)
Now is the time of monsters, the well-worn phrase tells us. But monsters, if they are interesting, are unpredictable. They come out of nowhere and evince their nowhere-ness, their improbability creating fascination, fear, revulsion, sympathy.
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George A. Romero is dead. And much as some of us would like it, the director of the most iconic zombie horror films of late capitalism will not be rising from the grave to walk among us. But the ravenous consumption that we see in his creations – of flesh, of our sanity, of our hope for the future – will continue. Unless it is brought to its knees then late capitalism has all but assured this.
The interview below with author and film studies professor Tony Williams – one of the very first articles to appear at Red Wedge – was conducted by editor Adam Turl and appeared on the site in October, 2012.
Read moreDaniel Kaluuya (Chris Washington) in Jordan Peele's Get Out
Masterful cinema usually leaves little to accident. With the film world completely oversaturated by works that are intellectually lazy and yet somehow overwrought with production costs, this is easy to forget. Many would say that the age of the auteur is behind us. It’s overly glib, but also understandable.
Throw in a film that cuts against this, where everything is well-placed and intentionally so, and a film-going public hungry for something that hits the sweet-spot between smart and emotionally satisfying will not be able to stop talking about it. Enter, like an unexpected guest who has been hiding in your basement, Get Out.
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