Two weeks ago, when asked about past instances of her own rude behavior in the bedroom in an interview with Andy Cohen on Watch What Happens: I got right out of there.
In a previous piece for RaceBaitR , I wrote about phantasmagorical Blackness—the ways in which Blackness, especially Black male sexuality, becomes a monstrosity in the white imagination. Relationships between Black men and white women are constantly centered in social and cinematic narratives about phantasmagorical Blackness, and understanding this motif is significant when watching Get Out. Whiteness continually redraws the lines of connection between Blackness and animality as a way to both dehumanize and fetishize, and uses the perceived purity and inherent value of white women as the foundation for that work: This is also true of films in other genres, like The Birth of a Nation and Mandingo , and it is no coincidence that so many of these stories place white women and the obsessive need to protect them from Black men at the center.
Get Out, zombification, and pathologizing escape from the plantation. This work appeared in a medical journal published in During these periods of sexual madness, the negro has all the symptoms of lycanthropia.
There is a loss of controlling power over the higher centers of the brain, or else the rabid impulses due to overdevelopment of sexual energy in certain portions of the brain, which the normal power of inhibition—that which the white man possesses—cannot control.
Those lynchings often included castration specifically because of the fear of Black male sexuality and the harm that it might do, or allegedly has done, to white women. Fantasies about the Black phallus leaves Black men and non-men with penises in a space in which they are both feared and fetishized. The fascination with this particular deviant sexuality has played out on the screen since the beginnings of cinema, with the likes of D.
A century after its release, the subject of the Black phallus is still explored on screen. Jordan Peele contemplates this again with Get Out via the fetishization of Black male sexuality, and understanding the anti-Blackness is inherent to this obsession is key to understanding the work that film does as a whole. And she does this through re-envisioning the role of white womanhood in the film in order to reposition it as perpetual victim to monstrous Black male sexuality.
With these comments, Amy Schumer continues to remind us, in the most absurd and unnecessary ways, how unwilling she is to seriously examine her anti-Blackness and general terribleness.
Meanwhile, White Feminism will continue to coddle and validate her, as it always has. I use this language about Black manhood and Black male sexuality because Amy Schumer was specifically referring to a cis man in her joke.
I understand and acknowledge that having a penis is not exclusive to men. She is passionate about social justice, black feminisms, and zombies. You can support her work at https: