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

Kate E. Temoney

Kate E. Temoney

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Quentin Tarantino’s Django Unchained : The Continuation of Metacinema

Bloomsbury Academic, 2014

Book chapter

...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...

Asif Kapadia

Jason Wood

Jason Wood works for the Curzon Cinema organisation. He is the author of The Faber Book of Mexican Cinema and is also the editor of Nick Broomfield. Author affiliation details are correct at time of print publication.

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Ian Haydn Smith

Ian Haydn Smith

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New British Cinema from Submarine to 12 Years a Slave : The Resurgence of British Film-making

Faber & Faber, 2015

Book chapter

...Asif Kapadia (photo: Jimmy Lindsey)Having won a Cannes Grand Jury Prize and the Grand Prix at the European Short Film Festival with The Sheep Thief (1997), his graduation film from the Royal College of Art, anticipation was high...

Inter | Views or An Examination of the Self, by the Self

Richard Ayoade

Richard Ayoade is a writer and director. In addition to directing and co-writing Garth Marenghi’s Darkplace, he has adapted and directed Joe Dunthorne’s novel Submarine for the screen, and is the co-writer (with Avi Korine) and director of the film, The Double. As an actor he is best known for his roles as Dean Learner in Garth Marenghi’s Darkplace and Maurice Moss in the Emmy Award-winning The IT Crowd, for which we was awarded a BAFTA as Best Performance in a Comedy. Author affiliation details are correct at time of print publication.

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Ayoade on Ayoade : A Cinematic Odyssey

Faber & Faber, 2014

Book chapter

...I told you. Interview one First memories; childhood; an abrupt ending ‘… the important thing is to plant the seed …’ Int. The same bathroom – the present I wake up in a dry bath. Ayoade is still here, perched on the toilet, like...

Introduction

Christina Lee

Christina Lee is Lecturer in Communication and Cultural Studies at Curtin University, Australia. Author affiliation details are correct at time of print publication.

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Violating Time : History, Memory, and Nostalgia in Cinema

Continuum, 2008

Book chapter

...“Long ago I had a vague inkling of a machine—” “To travel through Time!“exclaimed the Very Young Man.“That shall travel indifferently in any direction of Space and Time, as the driver determines.”As the ultimate apparatus of power, time...

Alex Garland

Jason Wood

Jason Wood works for the Curzon Cinema organisation. He is the author of The Faber Book of Mexican Cinema and is also the editor of Nick Broomfield. Author affiliation details are correct at time of print publication.

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Ian Haydn Smith

Ian Haydn Smith

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New British Cinema from Submarine to 12 Years a Slave : The Resurgence of British Film-making

Faber & Faber, 2015

Book chapter

...Alex Garland with Alicia Vikander on the set of Ex Machina (photo: Susie Allnut / © Universal)As a novelist Alex Garland has written The Beach (1996), The Tesseract (1999), and, with his father, the illustrator Nicholas Garland, The Coma...

Richard Ayoade

Jason Wood

Jason Wood works for the Curzon Cinema organisation. He is the author of The Faber Book of Mexican Cinema and is also the editor of Nick Broomfield. Author affiliation details are correct at time of print publication.

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Ian Haydn Smith

Ian Haydn Smith

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New British Cinema from Submarine to 12 Years a Slave : The Resurgence of British Film-making

Faber & Faber, 2015

Book chapter

...Richard Ayoade (photo: Dean Rogers)A former president of Cambridge University Footlights (1997–8), Richard Ayoade graduated to television with Garth Marenghi's Darkplace (2004), based on a series of stage shows. He followed this with roles...

Clio Barnard

Jason Wood

Jason Wood works for the Curzon Cinema organisation. He is the author of The Faber Book of Mexican Cinema and is also the editor of Nick Broomfield. Author affiliation details are correct at time of print publication.

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and

Ian Haydn Smith

Ian Haydn Smith

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New British Cinema from Submarine to 12 Years a Slave : The Resurgence of British Film-making

Faber & Faber, 2015

Book chapter

...Clio Barnard (photo: Nick Wall)Clio Barnard's work deals with the relationship between documentary and fiction, particularly the subjectivity of recollection. In 2006, Film and Video Umbrella commissioned Barnard to make Dark Glass as part...

Bodies In and Out of Place: Django Unchained and Body Spaces

Alexander D. Ornella

Alexander D. Ornella

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Quentin Tarantino’s Django Unchained : The Continuation of Metacinema

Bloomsbury Academic, 2014

Book chapter

...Introduction “There’s a nigger on the horse” marks the beginning of Quentin Tarantino’s most recent violation of filmic style, language, and good taste other directors might not get by with. As offensive as language and images might be,...

Our Impossible Failings: The Rhetoric of Historical Representation, Ideology, and Subjectivity in Ken Burns' Jazz

J. A. Rice

J. A. Rice

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Violating Time : History, Memory, and Nostalgia in Cinema

Continuum, 2008

Book chapter

...Most jazz films aren't really about jazz. But then, most jazz isn't really about jazz.In matters of representing historical phenomena on (or through) documentary film, rhetorical invention and contextualization are often the soft-spoken...

Of Handshakes and Dragons: Django’s German Cousins

Dana Weber

Dana Weber

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Quentin Tarantino’s Django Unchained : The Continuation of Metacinema

Bloomsbury Academic, 2014

Book chapter

...Crucial scenes in Quentin Tarantino’s Django Unchained (2012) are formulated in a “Sekundenstil”Invented by Naturalists, the literary technique of “Sekundenstil” aims to copy reality in minute detail (Gero Von Wilpert, “Sekundenstil...