Abstract
Abstract: Samuel Fuller's Shock Corridor (1963) and Jordan Peele's Get Out (2017) were both created during dreadful points in America's history. But Fuller hopes his film will be seen as science fiction as opposed to real life as he states in his autobiography of 2002. Peele attests wisely that Fuller's hope will never be fulfilled. Both works, though filmed in different times, show a troublesome world. They both depict a fragile America. Both protagonists had a sharper eye or were better witnesses to their worlds. A sharper vision is to be valued. Johnny of Shock Corridor is a journalist delving into the dangers of a mental institution. Chris, a photo fan, in the end comes to his close vision that he does not belong in the world of the film Get Out . The fear of loss exists in both Fuller and Peele. This article explores how these two films reveal the fragility of America.
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