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ABSTRACT: This article juxtaposes the film Get Out with visual media ostensibly within and outside of the film's genre to expand our understanding of horror, the psychoanalytics of spectatorship and identification, and the work of critical race theory. Yoking together horror and the slave narrative, I highlight the moments when identification shifts between the protagonist and the antagonist, a subject split that engenders neither wholesale resistance nor complete identification but an irresistible collusion between both.
Jerome Dent (Fri,) studied this question.