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

Reynaldo Anderson

,

Reynaldo Anderson

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D. L. Stephenson

D. L. Stephenson

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and

Chante Anderson

Chante Anderson

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Quentin Tarantino’s Django Unchained : The Continuation of Metacinema

Bloomsbury Academic, 2014

Book chapter

...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...

Bridging Commerce and Classification through the American Art Film: The Case of Who’s Afraid of Virginia Woolf? (1966)

Justin Wyatt

Justin Wyatt

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The Hollywood Renaissance : Revisiting American Cinema’s Most Celebrated Era

Bloomsbury Academic, 2018

Book chapter

...Nominated for thirteen Academy Awards (one in every eligible category), Mike Nichols’ adaptation of Edward Albee’s Who’s Afraid of Virginia Woolf? (1966) recalls the days when box office revenue and critical acclaim matched more often than...

Migration and contemporary Indian cinema: A consideration of Anurag Kashyap and la politique des auteurs in the times of globalization

Kaushik Bhaumik

Kaushik Bhaumik

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The Global Auteur : The Politics of Authorship in 21st Century Cinema

Bloomsbury Academic, 2016

Book chapter

...This chapter will examine the career of Anurag Kashyap, a leading film director of contemporary Indian cinema. Kashyap is one of the few in a new generation of directors to have been hailed specifically as an auteur in Indian film critical...

Counterfactuals, quantum physics, and cruel monsters in Quentin Tarantino’s Inglourious Basterds

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 Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...Inglourious Basterds (2009) shows us history as it wasn’t. The titular Basterds are a bunch of predominantly American Jews dropped into occupied France, where it is their business to kill Nazis. They discover that a Parisian cinema...

Body Genres I: Melodramatic Holocaust Films

Aaron Kerner

Aaron Kerner is an Associate Professor in the Cinema Department at San Francisco State University. Author affiliation details are correct at time of print publication.

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Film and the Holocaust : New Perspectives on Dramas, Documentaries, and Experimental Films

Continuum, 2011

Book chapter

...Introduction This chapter and the two following it are informed by Linda Williams’s concept of the “body genres,” films that provoke a visceral response in the spectator. Williams identifies melodrama, horror, and pornography...

Body Genres II: Pornography and Exploitation

Aaron Kerner

Aaron Kerner is an Associate Professor in the Cinema Department at San Francisco State University. Author affiliation details are correct at time of print publication.

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Film and the Holocaust : New Perspectives on Dramas, Documentaries, and Experimental Films

Continuum, 2011

Book chapter

...Introduction: Sexual Theater Susan Sontag describes a strange underworld fascinated with Nazi iconography in her essay, “Fascinating Fascism.” She attributes the fetishistic eroticization to power relations, where the SS exercises “total...

Space and time in the land of the end of history

Marco Grosoli

Marco Grosoli

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The Global Auteur : The Politics of Authorship in 21st Century Cinema

Bloomsbury Academic, 2016

Book chapter

...As of 2015, the stupendous output of Filipino director Lavrente Diaz totaled over fifty hours of film. To dissect such an overwhelming body of work would require more than these few pages, and in fact, might not even fit the scope...

Dr. “King” Schultz as Ideologue and Emblem: The German Enlightenment and the Legacy of the 1848 Revolutions in Django Unchained

Robert von Dassanowsky

Robert von Dassanowsky is Professor of German and Film, and Carnegie/CASE Professor of the Year (Colorado) at U Colorado, Colorado Springs. Publications include Austrian Cinema: A History; Gale Encyclopedia of Multicultural America (ed); New Austrian Film (ed. w/ Oliver Speck) and Hofmannsthal’s “Der Schwierige” (ed. w/Martin Liebscher). He is also an independent film producer. 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

...Austrian actor Christoph Waltz embodied a negative take on Austria’s troubled postimperial identity and relationship with Nazism as the identity shifting SS officer Hans Landa in Tarantino’s Inglourious Basterds (2009). The director creates...

The art of encounter and (self-)fabulation: Eduardo Coutinho’s cinema of bodies and words

Consuelo Lins

Consuelo Lins

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The Global Auteur : The Politics of Authorship in 21st Century Cinema

Bloomsbury Academic, 2016

Book chapter

...Eduardo Coutinho: Documentary choices and political clarity The early 2000s proved both a crucial and hopeful period for Brazilian audiovisual production: in those nascent moments of the twenty-first century, Brazilian film production...

From political engagement to politics of abjection in Polish auteur cinema: The case of Wojtek Smarzowski

Izabela Kalinowska

Izabela Kalinowska

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The Global Auteur : The Politics of Authorship in 21st Century Cinema

Bloomsbury Academic, 2016

Book chapter

...“Quite unexpectedly, [Wojtek] Smarzowski has become the most important film director of our times,” wrote film reviewer Zdzisław Pietrasik for the weekly Polityka, in May of 2014. Citing the cult following gained by some of Smarzowski...