Jordan Peele – Get Out

Thinking Through Georg Wilhelm Friedrich Hegel (1770–1831)’s Philosophy on the Art Essence

Jordan Peele’s Get Out is a modern horror-thriller that operates not only as a cinematic experience but as a profound social commentary. From a Hegelian perspective, this film exemplifies how the dialectic of freedom and subjugation unfolds within the context of race and identity. Through a unique aesthetic that blends realism with surreal horror, Peele exposes the ongoing struggle for recognition and autonomy within a society haunted by historical and systemic racial oppression.

The Dialectic of Master and Slave: A Modern Allegory

One of the most compelling ways to approach Get Out through Hegel’s philosophy is via the dialectic of master and slave, as articulated in the Phenomenology of Spirit. In this narrative, Chris, the protagonist, is lured into a seemingly welcoming environment, only to discover his autonomy systematically stripped away. The white liberal household, which initially appears benevolent, embodies the deceptive guise of mastery, while Chris represents the subjugated consciousness that gradually awakens to its own objectification.

The “Sunken Place” as Negation of Self-Consciousness

The “Sunken Place” is an evocative metaphor for the suppression of Black identity, akin to Hegel’s idea of alienation. When Chris is hypnotized and descends into the void, he loses control over his own body, rendered powerless to act while still retaining his consciousness. This separation between body and mind mirrors the division within the master-slave dialectic, where the oppressed subject becomes an instrument rather than an autonomous agent. The horror of the “Sunken Place” lies precisely in this disempowerment—a visual manifestation of social invisibility and voicelessness.

Aesthetic Expression and the Dialectic of Horror and Satire

Hegel believed that art reveals the spirit through sensuous expression, and Get Out exemplifies this through its fusion of horror with satirical realism. The film’s visual language—meticulously composed shots, deliberate pacing, and unsettling juxtapositions—reflects the contradiction between surface-level harmony and underlying violence. The aesthetic shift from an idyllic, pastoral setting to moments of visceral terror exemplifies the dialectical clash between perceived racial harmony and the brutal reality of exploitation.

Recognition and the Struggle for Freedom

Hegel’s notion of recognition (Anerkennung) is central to the film’s thematic core. Chris’ survival hinges on his ability to reclaim his autonomy and assert his identity within a hostile environment. The chilling realization that his captors view him merely as a vessel for their own desires highlights the ultimate negation of recognition. Yet, the climax—where Chris fights back—symbolizes the Hegelian synthesis where the subjugated consciousness reclaims its subjectivity through active resistance.

Freedom as Self-Actualization

The film’s resolution, where Chris ultimately survives and escapes, demonstrates Hegel’s notion of self-actualization through struggle. Peele’s cinematic techniques, including the use of light and shadow to contrast clarity with entrapment, underscore this process of liberation. Chris’ final act of rebellion not only signifies physical escape but the transcendence of the “Sunken Place”—a return to his own identity, unmediated by the oppressive desires of others.

Irony and Inversion: Aesthetic and Ethical Reflection

Hegel held that irony, as a form of aesthetic consciousness, reflects the awareness of contradiction within the world. Get Out employs irony not just as a narrative tool but as a critique of the superficial liberalism that conceals deeper racial prejudices. The Armitage family’s outward admiration for Black culture—expressed through awkward comments and cultural appropriation—ironically becomes the foundation for their exploitative practices. This inversion highlights the dialectical irony inherent in racial relations within modern society.

Social Commentary Through Horror: Art as a Vehicle of Truth

According to Hegel, true art transcends mere entertainment to become a vehicle of philosophical insight. Peele’s film exemplifies this by using horror not just for fear but as a means to confront uncomfortable truths about racial dynamics. The symbolic motifs—the deer, the tea cup, the “Sunken Place”—each contribute to the unfolding of truth, revealing the latent violence within ostensibly civilized interactions. In this sense, the horror genre itself becomes a subversive medium, challenging viewers to confront the social unconscious.

Transcendence of Tragic Consciousness

In Hegelian terms, tragedy arises when conflicting ethical demands collide. In Get Out, the tragedy lies in the protagonist’s initial blindness to the racial power structures that entrap him. However, this tragic consciousness evolves as Chris becomes aware of his own objectification and takes active steps toward liberation. The film’s resolution is not merely a triumph of survival but a philosophical affirmation of human dignity reclaimed through struggle.

Cinematic Realism as Ethical Reflection

Peele’s commitment to realism within a horror framework aligns with Hegel’s idea that art must reveal the spirit’s truth. The meticulous portrayal of microaggressions and the unsettling normalcy of the Armitage household illustrate how racism is often embedded in subtle social practices. The film’s climax, where raw violence erupts from this seemingly benign setting, mirrors the dialectical rupture where hidden truths become manifest.

The Sublation of Identity and Resistance

The film concludes not with mere survival but with the sublation (Aufhebung) of Chris’ fear and submission into agency and defiance. Through his final acts, Chris sublates his victimhood, transforming his experience into a potent assertion of selfhood. In this light, Get Out transcends its genre to become a modern allegory of liberation, where the aesthetic expression of horror illuminates the ongoing struggle for racial and personal autonomy.

Conclusion: Art as the Realization of Freedom

From a Hegelian perspective, Get Out exemplifies the role of art in actualizing freedom through aesthetic confrontation with social reality. The film’s layered symbolism and genre subversion reveal the philosophical depth of human struggle, making it a quintessential modern artwork that speaks to the spirit’s quest for self-affirmation amid systemic oppression. In this sense, Get Out is not merely a cinematic achievement but a philosophical exploration of identity, freedom, and resistance in the modern world.