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Introduction: A Southern State of Exception

Oliver C. Speck

Oliver C. Speck is Associate Professor of Film Studies at Virginia Commonwealth University, USA. His scholarly writing focuses on the representation of memory and history in French, German and other European cinema. Author affiliation details are correct at time of print publication.

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Quentin Tarantino’s Django Unchained : The Continuation of Metacinema

Bloomsbury Academic, 2014

Book chapter

3

...Django Unchained has been widely seen as a companion to Tarantino’s 2009 film Inglourious Basterds. Again, references to Germany and German culture abound and the role of the “übercultured German” is played by Christoph Waltz, with similar...

Is Tarantino serious? The twofold image of the Auteur and the state of exception

Oliver C. Speck

Oliver C. Speck is Associate Professor of Film Studies at Virginia Commonwealth University, USA. His scholarly writing focuses on the representation of memory and history in French, German and other European cinema. Author affiliation details are correct at time of print publication.

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

3

...Quentin Tarantino might be American cinema’s best know auteur, one of the very few directors whose work is promoted in the U.S. with the “a film by” label. It is a label that, of course, the filmmaker himself tirelessly and skillfully...

“Crowdsourcing” “The Bad-Ass Slave”: A Critique of Quentin Tarantino’s Django Unchained

Quentin Tarantino’s Django Unchained : The Continuation of Metacinema

Bloomsbury Academic, 2014

Book chapter

0

...The philosophy of Franz Fanon articulated in his books The Wretched of the Earth (1963), the bible of the Black Revolution, and Black Skin, White Masks (1967) reached its apogee during the turbulent decade of the 1960s. Fanon theorized...

Self/Aggression

Oliver C. Speck

Oliver C. Speck is Associate Professor of Film Studies at Virginia Commonwealth University, USA. His scholarly writing focuses on the representation of memory and history in French, German and other European cinema. Author affiliation details are correct at time of print publication.

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Funny Frames : The Filmic Concepts of Michael Haneke

Continuum, 2010

Book chapter

0

...While it is a commonplace to note that the films of Michael Haneke deal with situations of violence, film criticism as well as the rapidly growing scholarship on Haneke have neglected to remark that the topos of self-aggression also...

The Moral Of The Long Take

Oliver C. Speck

Oliver C. Speck is Associate Professor of Film Studies at Virginia Commonwealth University, USA. His scholarly writing focuses on the representation of memory and history in French, German and other European cinema. Author affiliation details are correct at time of print publication.

Search for publications

Funny Frames : The Filmic Concepts of Michael Haneke

Continuum, 2010

Book chapter

1

... Dassanowsky and Speck 2010). This certainly holds true for the West-German filmmakers of Haneke's generation. As Robert von Dassanowsky explains in his comprehensive history of Austrian cinema, the rising popularity of television and especially...

A New Order

Oliver C. Speck

Oliver C. Speck is Associate Professor of Film Studies at Virginia Commonwealth University, USA. His scholarly writing focuses on the representation of memory and history in French, German and other European cinema. Author affiliation details are correct at time of print publication.

Search for publications

Funny Frames : The Filmic Concepts of Michael Haneke

Continuum, 2010

Book chapter

0

...In a relatively short period of time, Michael Haneke's oeuvre developed from critically acclaimed films with a small distribution, co-produced by Austrian and German television, to works of French cinema, becoming almost synonymous...

The “D” Is Silent, but Human Rights Are Not: Django Unchained as Human Rights Discourse

Quentin Tarantino’s Django Unchained : The Continuation of Metacinema

Bloomsbury Academic, 2014

Book chapter

0

...Life, liberty, and the pursuit of vengeanceWe hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit...

Introduction

Oliver C. Speck

Oliver C. Speck is Associate Professor of Film Studies at Virginia Commonwealth University, USA. His scholarly writing focuses on the representation of memory and history in French, German and other European cinema. Author affiliation details are correct at time of print publication.

Search for publications

Funny Frames : The Filmic Concepts of Michael Haneke

Continuum, 2010

Book chapter

1

... and strategies, beginning with self-referentiality. While his films draw attention to their textual status, they are not simply critical of certain cultural trends. Natural Born Killers (1994) by Oliver Stone would be a perfect example...

Value and Violence in Django Unchained

William Brown

William Brown is Senior Lecturer in Film at the University of Roehampton, UK. He is the author of Supercinema: Film-Philosophy for the Digital Age (2013), Moving People, Moving Images: Cinema and Trafficking in the New Europe (2010), with Dina Iordanova and Leshu Torchin, and co-editor, with David Martin-Jones, of Deleuze and Film (2012). Author affiliation details are correct at time of print publication.

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Quentin Tarantino’s Django Unchained : The Continuation of Metacinema

Bloomsbury Academic, 2014

Book chapter

1

... Brothers (M. C. Gainey, Cooper Huckabee, Doc Duhame) to kill and win bounty for them. Having achieved this, and having won bounty on various other outlaws, Django and Schultz decide to find and to liberate Django’s wife, Broomhilda (Kerry...

Guess Who’s Coming to Get Her: Stereotypes, Mythification, and White Redemption

Quentin Tarantino’s Django Unchained : The Continuation of Metacinema

Bloomsbury Academic, 2014

Book chapter

1

... inhabit the symbolic form. They become mobile, and in many cases are transferred to other adjacent characters in a film. James Snead identifies this device as mythification in his analysis of Merriam C. Cooper’s 1933 King Kong.Snead, White...