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Introduction
Jordan Peele is passing the baton of “black” horror to future generations. “The Master” is a variation of the sensational and provocative “Get Out”. Only the film by Mariam Diallo talks about racism and xenophobia much more seriously and deeply. Through the lives of two black women—a student (Zoë Renee) and a teacher (Regina Hall) who came to the college in New England—the director tells a familiar tale of curses, ghosts, and sinister houses. The “Master,” directed by Mariama Diallo, is trying to find the answer to this question. The film provides an analysis of the discrimination faced by the black community and how deeply these prejudices are ingrained in the human mind.
Discussion
Master is the kind of movie that makes me realize that even while there is a lot to be said about racism, particularly from the perspective of Black women, I have to treat the subject with respect because it is such a touchy subject. I am not Black, but as a woman who wants to pursue a master’s degree, the problems the main characters face with also important to me. Overall, the theme of racism triggers me the most, even if I have not faced this personally, but many of my close friends have tackled these negative attitudes. The school’s first Black Master, Gail Bishop, has recently been given the honor of running a residence hall. It is a glorified pre-resident adviser and a remnant from prestigious British colleges. Ancaster College, which is primarily white and nearly as old as America itself, has a sordid past that it cannot escape as the location of a Salem-era witch trial and hanging.
Racism also looms large over the university, raising its ugly head in settings like the library and a house party, where a swarm of dancing people gathers around Jasmine at the first scent of a rap song. The microaggressions, however, soon go from subtle discomfort to outright hatred, driving Jasmine from confusion to outright horror. What makes my stand the opposite is that a real-life microaggression that the director throws at its characters is so familiar to viewers of color that they are nowhere near as shocking nor surprising as the film thinks. The African-American characters in the movie are all victims, utterly devoid of anything but trauma and fear, and who act toward one another in ways we would not work in White spaces.
The uncomfortable moments and cautious navigating are incredibly relatable to anyone who has stood out in a predominantly white setting of privilege and had assumptions made about them; in fact, Diallo drew from her own experiences as a Yale undergraduate. In response to student complaints, the university dropped the term “master” in 2016 (Macabasco). There are also numerous astutely observed, revealing nuances that go unnoticed, just as they would in real life: Ancaster’s custodial staff is entirely Black; The Black cafeteria worker puts on a cheery, maternal demeanor for white students eager to devour her macaroni and cheese but ignores Jasmine. These parts of the films make my stance to be dominant, as these situations are real-life cases. At the film’s beginning, I was skeptical about how non-black women would open good racism. However, after viewing the final scenes, I realized that this stand was negotiated as the movie was definitely on point for me. Literally speaking, racism is a metaphoric ghost. It may alter over time in appearance, but it will always be perfectly ingrained in all American institutions.
Conclusion
Overall, although the novel depicts disheartening challenges unique to Black women, we do not have to be one of them to be alarmed by the anxieties they experience. It goes beyond merely looking on from a luxury position and expressing pity, sympathy, or empathy. Underneath their racial discrimination are more significant issues, gaslighting, changing one’s identity to fit in with society, disregarding uncomfortable truths, and avoiding disagreement to maintain peace.
Work Cited
Macabasco, Lisa Wong. “Master Review – Racism Haunts a New England University in Uneven Horror.” The Guardian, Web.
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