Jordan Peele's celebrated screenplay combines horror and dark humor to reveal the terrifying realities of being Black in America "Blending race-savvy satire with horror to especially potent effect, this bombshell social critique from first-time director Jordan Peele proves positively fearless." -Peter Debruge, Variety "An exhilaratingly smart and scary freak out about a black man in a white nightmare." -Manohla Dargis, New York Times "A major achievement, a work that deserves, in its own way, to be viewed alongside Barry Jenkins' Moonlight as a giant leap forward for the possibilities of black cinema; Get Out feels like it would have been impossible five minutes ago." -Brandon Harris, New Yorker Jordan Peele's powerful thriller Get Out debuted in 2017 to enormous public and critical acclaim, a Guess Who's Coming to Dinner? for the age of Obama and Trump that scared audiences and skewered white liberal pieties at the same time. Rather than rely on popular archetypes, Peele weaves together the material realities and daily manifestations of horror with sociopolitical fears and elements of true suspense, and combines them with pitch-perfect satire and a timely cultural critique. This companion paperback to the film presents Peele's Oscar-winning screenplay alongside supplementary material. Featuring an essay by author and scholar Tananarive Due and in-depth annotations by the director, this publication is richly illustrated with more than 150 stills from the motion picture and presents alternate endings, deleted scenes and an inside look at the concepts and behind-the-scenes production of the film. Continuing in the legacy of 1960s paperbacks that documented the era's most significant avant-garde films--such as Akira Kurosawa's Rashomon, Jean-Luc Godard's Masculin/Feminin and Michelangelo Antonioni's L'Avventura--Get Out is an indispensable guide to this pioneering and groundbreaking cinematic work. Jordan Peele (born 1979) is an American writer, director and producer. Peele's directorial debut, Get Out (2017), earned him an Academy Award for Best Original Screenplay as well as nominations for Best Picture and Best Director. In 2012, Peele founded Monkeypaw Productions, which amplifies traditionally underrepresented voices and unpacks contemporary social issues, while cultivating artistic, thought-provoking projects across film, television and digital platforms, including Peele's follow-up to Get Out, the critically acclaimed horror epic, Us (2019).
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1976.
Having realized that its traditional mode of coordinating--essentially issuing regulation--no longer commands sufficient political support, the European Union (EU) has turned to what are increasingly referred to as 'new' modes of governance, which rely upon different actors working together in relatively non-hierarchical networks. This book provides the first extended account of how effective they are at addressing 'wicked' policy problems which simultaneously demand greater levels of horizontal and vertical coordination. Taking, as an example, the thirty year struggle to integrate environmental thinking into all areas and levels of EU policy making, it offers a stark reminder that networked governance is not and is unlikely ever to be a panacea. In doing so, it strips away some of the rhetorical claims made about the novelty and appeal of 'new' modes, to reveal a much more sober and realistic appraisal of their coordinating potential.
Democracy and Interest Groups assesses the contribution that interest groups make to the democratic involvement of citizens and the generation of social capital. The authors draw on new surveys of groups and members and more unusually with non-participants. It also makes use of in-depth interviews with campaign group leaders and organizers.
A dynamic, moving hybrid work that celebrates Black youth, often too fleeting, and examines Black lives lost to police violence. In this astonishing volume of poems and lyric prose, Whiting Award–winner A. Van Jordan draws comparisons to Black characters in Shakespearean plays—Caliban and Sycorax from The Tempest, Aaron the Moor from Titus Andronicus, and the eponymous antihero of Othello—to mourn the deaths of Black people, particularly Black children, at the hands of police officers. What do these characters, and the ways they are defined by the white figures who surround them, have in common with Tamir Rice, Trayvon Martin, and other Black people killed in the twenty-first century? Balancing anger and grief with celebration, Jordan employs an elastic variety of poetic forms, including ekphrastic sestinas inspired by the photography of Malick Sidibé, fictional dialogues, and his signature definition poems that break down the insidious power of words like “fair,” “suspect,” and “juvenile.” He invents a new form of window poems, based on a characterization exercise, to see Shakespeare’s Black characters in three dimensions, and finds contemporary parallels in the way these characters are othered, rendered at once undesirable and hypersexualized, a threat and a joke. At once a stunning inquiry into the roots of racist violence and a moving recognition of the joy of Black youth before the world takes hold, When I Waked, I Cried to Dream Again expresses the preciousness and precarity of life.
This “important and necessary book for our time” (Amber Smith, New York Times bestselling author of The Way I Used to Be) confronts the myth of the friendzone as a boy in love with his best friend feels he’s owed a chance at romance—and she’s the only one in their lives who disagrees. For as long as anyone can remember, Zeke Ladoja and Imogen Parker have been best friends. Their classmates, their parents, and even the school custodian think that they’re meant to be together. And that’s exactly what Zeke wants: for Gen to be his girlfriend. Now that she’s about to be sixteen (and allowed to date), Zeke is finally going to tell her how he feels—in front of everyone at her birthday party. Imogen loves Zeke with all her heart, but only as a friend. The pressure to be with Zeke has sometimes been overwhelming, but up to this point, she’s been able to manage it. Then she falls for the new boy, Trevor Cook, and she knows the news will devastate Zeke. The last thing she wants to do is hurt her best friend, but she also resents the fact that no one seems to care about what she wants. The night of Gen’s party, everything goes wrong. There’s backlash, most of it directed at Gen, and Zeke feels emboldened. He isn’t about to give up on his feelings, and he’ll do whatever it takes to prove that she made the wrong choice…even if it means destroying their friendship. But Gen isn’t about to give up on fighting for herself and the freedom to love the boy she wants, not the boy she’s expected to be with.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.