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Asocial thrilleris afilmgenre using elements ofsuspenseandhorrorto augment instances of apparent oppression in society. The genre gained attention by audiences and critics around the late 2010s with the releases ofJordan Peele'sGet OutandUs,[1][2]each film highlighting occurrences ofracial alienation(the former which veil a plot to abduct young African-Americans). Before Peele, other film actors, directors, and critics had used the term to describe an emerging genre of cinema with examples from all over the globe.

Many social thrillers focus on issues of race, class, gender, sexuality, or nationhood, often within the format ofgenre filmsmore broadly categorized as ablack comedy,film noir,psychological drama,andhorror cinema,among others.

Early usage

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Social thriller actorSidney Poitier(left) at the 1963March on Washington,alongsideHarry BelafonteandCharlton Heston

"Social thriller" first appeared infilm criticismto denote films using elements ofsuspenseto heighten dramatic tension caused by social inequity.[3]Often appearing in quotes, the term was being used as early as the 1970s toretrospectivelydescribe politicalneo-noircinema. An early example comes from cinema writerGeorges Sadoul's characterization ofEl Wahsh( "The Monster" ), anEgyptiancrime filmentered into the 1954Cannes Film Festival.[4]Sadoul sums up the film as "a social thriller based on an authentic police case about police pursuit of a drug-addicted gangster." Sadoul goes on to describe the film's documentary style and backdrop of life in the Egyptian countryside.[5]Other early uses of the term can be found in descriptions ofFrench New Wavefilms, such asThe Nada Gang,Claude Chabrol's 1974 film inspired by theMay 1968 events in France.[6]In their book,French Culture Since 1945,Malcolm and Martin Cook wrote that "Chabrol's career has been almost exclusively devoted to what might be called the 'social thriller'" and go on to define the genre as, "films using asuspenseformat often akin to that ofHitchcockto comment on the deviousness and duplicity of French society. "[3]

Many other film critics bandied about the term in their reviews prior to the 2010s but seldom in a way that gave the social thriller its own status as a codified genre in cinema. Prior to 2017, most writers used the term only once, usually in a single review, and to characterize an individual film. In his biography onWilliam Wyler,Axel Madsencalls the 1937Humphrey BogartpictureDead Enda social thriller.[7]TLA Video reviewer David Bleiler described the 1950Sidney PoitierfilmNo Way Outas "an exceptionally made, tense drama which succeeds both as medical soap opera and social thriller."[8]Douglas Brode calledSpencer Tracy"the alienated anti-hero of the social thriller" for his 1955 performance inBad Day at Black Rock.[9]Another Poitier film, 1967'sIn the Heat of the Night,got tagged as social thriller by Leonard Maltin,[10]and was also cited as such on the floor of theU.S. House of Representatives.[11]Both Tracy and Poitier also appeared in 1967'sGuess Who's Coming to Dinner,a film that would later be identified as a key "non-thriller" example of the social thriller genre.[12]

For films produced outside the U.S., more than one reviewer has named the 1961 British filmVictimas a social thriller. As the firstEnglish languagefilm on record to use the word "homosexual"in its dialogue,Victimraised controversy in theUnited Kingdomfor its critique of Britain's anti-gay laws that would remain in place until the passing ofSexual Offences Act 1967decriminalized homosexuality for men inEnglandandWales.[13][14]Ismal Xavier called the 1962 Brazilian political train robbery filmO Assalto ao Trem Pagador( "Assault on the Payroll Train" ) a social thriller.[15]Taiwanesedirector Bai Jingrui's 1982 filmOffend the Law of Godhas been called "an exploitation social thriller"[16]and the 1996SpanishfilmTaxi,about the rise of the racist right wing, has also been given the label.[17]

In hisHistorical Dictionary of Russian and Soviet Cinema,author Peter Rollberg goes a bit further than the one-mention references of his peers. In describing the work of Russo-BelarusiandirectorAleksandr Faintsimmer,Rollberg writes, "Fainsimmer devoted himself to the traditionally underrepresented genre of the social thriller with blockbusters such asNo Right to Fail(1974) andThe Cafeteria on Piatnikskaia Street(1978). "Rollberg also namesLeonid Filatov's 1982 filmThe Rooksand Vadim Derbenev's 1985 hitThe Snake Catcheras landmarks of the genre in theSoviet Union.[18]

21st century western cinema

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At the onset of the 2000s, critics and scholars continued to label a number of contemporary films as social thrillers. The authors ofSociology: An Introductory Textbook and Readerwrote of the 2002 British filmDirty Pretty Thingsas being "not a documentary but a social thriller which blends aspects of the global urban legends about child kidnapping for organs and prostitutes drugging unsuspecting barflies who wake up in a hotel bathtub minus a kidney."[19]The New Yorkerechoed this sentiment, saying, "Dirty Pretty Thingsis not a violent thriller. It might be called a social thriller—a creepy, tightly knit suspense film that, on the fly, reveals more about the lives of immigrants in London than the most scrupulously earnest documentary. "[20]Other films labeled as social thrillers from the first decade-and-a-half of the new millennium include 2005's British production ofThe Constant Gardener[21]and the 2008 Italian filmAs God Commands,both based on the best-selling novels of the same names.[22]TheWall Street Journalcalled 2010'sThe Social Network"Partmorality play,part social thriller, "[23]the 2012Canadianchild abductionfilmThe Tall Mangot called a social thriller for itsDVDrelease,[24]and the French film festival hitCorporatewas called a social thriller in 2016, several months in advance of its 2017 release.[25][26]

Modern Indian cinema

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Bollywood starAmitabh Bachchanspeaking in April 2006

Like the West, Indian cinema has a longstanding tradition of identifying some movies as "social films"or"social problem films",genres that emerged whentalking picturesfirst came to India in the 1930s.[27][28][29]The rise of "social thriller" as a genre garnered familiarity in India, as it did in the U.S., in its association with a major box office hit. 2016'sPink,acourtroom dramathat deals withrape,was India's highest-grossing film ever to be released.Pinkstarred longtimeBollywoodiconAmitabh Bachchan,who named the film a social thriller.[30]Bachchan said ofPinkthat, "the context and the premise of the film shall always be of prime interest," but that "much is not spelt out because of the nature of the story and, of course, the nature of its genre—a social thriller!”[31]

BeforePinkthe term social thriller was applied occasionally by Bollywood's directors and marketers and then repeated by the press to describe selected movies, such as 2014's filmFuglystarringolympic boxingmedalistVijender Singh.[32][33]Prior toFugly's release, the press were unfamiliar with the genre, and in a film preview theIndia Timessaid that it was "the movie that's been billed as a 'social thriller' (whatever that is)."[34]AfterFugly,other social thriller tags followed suit, such as 2014'sBhopal: A Prayer for Rainabout theUnion Carbide Disaster,[35]and 2016'sLaal Rangabout theorganized crimetrafficking inhuman blood.[36]

South Indianfilm columnists may have been using the term prior to theirNorth Indiancounterparts.G. Dhananjayancalled the 2009Tamil languagefilmAchchamundu! Achchamundu!( "There is fear! There is fear!" ) a social thriller, citing it as "one of the rare mainstream Tamil films with the subject onpedophiles."[37]Tamil director Bramma G. called his 2014 debut film,Kutram Kaditha,a social thriller.[38][39]The same year Jean Marcose called hisMalayalamfilmAngelsa social thriller.[40]Film Beat's Akhila Menon used the term to describe bothPuthiya Niyamam[41]andEvidam Swargamanuin 2015.[42]Other Tamil social thrillers include 2016'sKabali,[43]andAagam,of which director Vijay Anand Sriram claimed, "has a message but it will not be preachy. It's a social thriller with commercial elements in it".[44]

Post-Pinksocial thrillers in Indian cinema have includedAdanga Maru,[45]Jhalki...Ek Aur Bachpan,[46]Mulq,[47][48]Pinu,[49]Parari,[50]Blue Whale,[51]andMarainthirunthu,[52]all released in 2018.

Get Outand after

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Director and comedianJordan Peeleperforming in 2012

Broadly categorized as ahorror film,[53]director Jordan Peele stated that his directorial debut,Get Out,was part of a lineage of social thrillers, meaning that whatever scary things manifest onscreen, society is actually the true evil.[54]In a February 2017 interview, Peele told theChicago Tribune,"I define 'social thriller' as thriller/horror movies where the ultimate villain is society."[55] In March he told theNew York Timesthat social thrillers "all deal with this human monster, this societal monster. And the villain is us."[54]He later toldNew York Magazine,"I was trying to figure out what genre this movie was, and horror didn't quite do it. Psychological thriller didn't do it, and so I thought,Social thriller.The bad guy is society—these things that are innate in all of us, and provide good things, but ultimately prove that humans are always going to be barbaric, to an extent. I think I coined the term social thriller, but I definitely didn’t invent it. "[56]

To coincide with the release ofGet Out,Peele curated a film series for theBrooklyn Academy of Music(BAM) calledThe Art of the Social Thriller.[57]The series featured classic horror films likeRosemary's Baby,Night of the Living Dead,The Shining,The Silence of the Lambs,Candyman,The People Under the Stairs,and the first film ofWes Craven'sScreamseries. Peele also included films outside of the horror genre, such aspsychological thrillersFunny GamesandMisery,Hitchcock'smystery thrillerRear Window,and comedy-thrillerThe 'Burbs.Thesneak previewofGet Outwas preceded by the 1967comedy-dramaGuess Who's Coming to Dinner,the first Hollywood film to address interracial marriage[58]and a big influence on the premise for Peele's own film.[59][60]When asked about its inclusion in the series, Peele told theVillage Voice,"It's not an actual thriller, it's just a great exploration of the social phenomenon of how we deal with race, putting it in a package that everyone can understand. Anybody can relate to the fear of meeting your potential in-laws for the first time... At a certain point withGet Out,I realized that I was making a sort of thriller take onGuess Who's Coming to Dinner."[12]

AfterGet Out'ssuccess, Peele announced that he had plans to make four more social thrillers in the next decade. In an interview withBusiness Insiderhe said, "The best and scariest monsters in the world are human beings and what we are capable of especially when we get together. I've been working on these premises about these different social demons, these innately human monsters that are woven into the fabric of how we think and how we interact, and each one of my movies is going to be about a different one of these social demons."[61]By the time Peel's second film,Us,was under production, it had veered away from its original inceptions as a "social" thriller and fell more squarely into the horror genre. Whereas Peele's treatment ofGet Out's black protagonist and white antagonists made it a film about race, he strove to makeUsnot be about race. “It’s important to me that we can tell black stories without it being about race,” Peele toldRolling Stonein early 2019. “I realized I had never seen a horror movie of this kind, where there’s an African-American family at the center that just is. After you get over the initial realization that you’re watching a black family in a horror film, you’re just watching a movie. You’re just watching people. I feel like it proves a very valid and different point thanGet Out,which is, not everything is about race.Get Outproved the point that everything is about race. I’ve proved both points!”[62]

By mid-2017 the press had started touting upcoming films as belonging to the genre, including internationalCannes Film Festivalfavorites likeColombia'sMatar a Jesús,[63]France'sL'Atelier;[64]Brazil'sRifle,[65]and the remake ofArgentina'sLa Patota.[66]Varietywrote that animated filmTales of the Hedgehogwas both "a children’s thriller" and "a social thriller-fable" after directorAlain Gagnoldescribed it as a “suspenseful social fable.”[67]From Hollywood, thesocial mediascandal movieAssassination Nation,[68]andGreg McLeanandJames Gunn'sThe Belko Experiment,[69]were promised as social thrillers, as wasKathryn Bigelow'sDetroitas part of the social thriller canon.[70]

Musician/authorBoots Riley's 2018 directorial debutSorry to Bother Youwas tapped as being a social thriller by bothThe GuardianandDeadline,and multiple reviewers compared Riley's film toGet Out.[71][72]That same yearRolling StonepositedTyrel,a drama about one black man's weekend getaway with a bunch of drunk white men, as a social thriller.[73]In 2019Luce,a film about the external expectations placed on young black men in America, got the social thriller tag after its debut at theSundance Film Festival.[74]On the eve of the 2019Academy AwardsThe A.V. ClubaddedCam,a psychological horror film told from the perspective of an onlinesex worker,to the genre's roster, saying, "One year afterGet Out,another social thriller deserves Oscar love for its script.[75]Likewise the websiteInsiderclamored "to see Lee Chang-dong's tense social thrillerBurningin this race "forBest Foreign Language Filmat the2019 Academy Awards.[76]A2019 Cannes Film FestivalThe Associated Pressheadline proclaimed that "South Korean directorBong Joon-ho’s social thrillerParasitewinsPalme d’Or"and that third-place jury prizes were also awarded to" two socially conscious thrillers: The French director Ladj Ly’s feature-film debutLes Miserablesand Brazilian directorKleber Mendonça Filho’sBacurau."[77]WithGet Outhelping to codify the genre, critics have continued to apply the term retrospectively, with more than one review adding the 1975 science fiction thrillerThe Stepford Wivesto the canon.[60][62]

Critique

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Use of social thriller as a genre term has come under scrutiny since its widened use. One critique is that niche genres such as horror are re-labeled to draw a more mainstream fanbase. In a news piece about 2017's most successful horror films, journalist Haleigh Foutch wrote that "Get Outis being billed as a 'social thriller' now that the film has dominated at the box office and conjured early awards buzz. "[78]Critic Jacob Knight has also cited uses of "social thriller," "social horror" and "elevated horror" to describeGet Outand the 2018 filmsHereditaryandA Quiet Place,saying, "'elevated horror' (or even 'social horror', for that matter) doesn’t exist. It never did, and it never will. Filmmakers have been attempting to distance themselves from the 'horror' label for decades, as it’s a genre that’s been ghettoized for most of its existence."[79]In an opinion piece forSYFY WireEmma Fraser wrote that "social thriller" refers to a specific kind of horror but that "by dressing this genre up, it actually does it a disservice." Fraser goes on to say that filmmakers likeGeorge Romero,David CronenbergandJohn Carpenterhave used the horror genre to address social issues such as racism or theAIDS epidemic,and that many horror films bear social significance without relying on the social thriller label.[80]

In other media

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Literature

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Social thriller author Ruth Rendell

Outside the medium of cinema, literary critics have used the term "social thriller" as early as the first decade of the 2000s. Writing on the psychological crime novels ofRuth Rendellin 2002, Lidia Kyzlinková atMasaryk Universityremarked, "Rendell may be seen as having developed a kind of social thriller, in which various representations around region, class, race, gender, or age form an important part of the plot."[81]Three years later Kyzlinková subtitled another chapter on Rendell, "Social Thriller, Ethnicity and Englishness," in which she characterized works whose plots focus less on detectives or police as being "socio-psychological, or social thrillers."[82]

Also writing in 2002,The New York Daily Newssaid that Iain Pears Riverhead's bookThe Dream of Scipio"uses a larger-than-ever canvas to construct this genre-bending historical and social thriller."Business Wirelater called Kathleen Kaufman’s 2009dystopiannovelThe Tree Museum"an environmental thriller that follows a world completely transformed by an enigmatic and powerful totalitarian force" in a review titled, "New Social Thriller, The Tree Museum, to Challenge the Ethics of State-Enforced Environmentalism."[83]MacMillan Publishing describedSix Suspects,Vikas Swarup's 2010 follow-up toSlumdog Millionaireas "a richly textured social thriller."[84]

After its proliferation as a cinematic genre, the term was used to describeDC/Vertigo comic bookSafe Sex.[85]

Theatre and television

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As film writers began applying the term with greater frequency after its 2017 upsurge, theatre critics followed suit.Time Out New Yorkreviewer Adam Feldman wrote that theBroadway showJunk"melds a breadth of genres—crime story, tragedy, issue play, cautionary tale—into a fast-moving, broad-ranging social thriller."[86]By 2018 the term had leapt to television, and was used to describe theNetflixseriesWhat/If[87]and indian seriesCriminal Justice.[88]

Radio and podcasting

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In September 2018The New York Timeshighlighted a number of fictionpodcastsas contributions to the social thriller genre, chiefly the politically charged dystopian fantasyAdventures in New Americaby filmmakers Stephen Winter and Tristan Cowen.[89]Audio fiction publisherNight Vale Presentstouted the term on its own website, citing comparisons toBoots Riley's filmSorry to Bother Youand the work of Jordan Peele.[90]TheTimesalso citedGimlet Media's subterranean serialThe Horror of Dolores RoachandPanoply Media's airline disaster whodunitPassenger Listas being among the social thrillers cropping up in the new wave of serialized audio fiction.[89]

List of selected social thriller films

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List of directors associated with social thrillers

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See also

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References

[edit]
  1. ^abcdefghijkl10 Best Social Thriller Films of All Time - MovieWeb
  2. ^10 Of The Greatest Horror Filmmakers Of All Time (According to Rotten Tomatoes) - Game Rant
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