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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...

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,...

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...

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...

Thirteen Ways of Looking at a Black Film: What Does It Mean to Be a Black Film in Twenty-First Century America?

Heather Ashley Hayes

Heather Ashley Hayes

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Gilbert B. Rodman

Gilbert B. Rodman

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Quentin Tarantino’s Django Unchained : The Continuation of Metacinema

Bloomsbury Academic, 2014

Book chapter

...I. —Henry Louis Gates, Jr, Thirteen Ways of Looking at a Black Man (1997) We can agree that the notion of a unitary black man is as imaginary (and as real) as Wallace Stevens’s blackbirds are; and yet to be a black man...

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

Ryan J. Weaver

Ryan J. Weaver

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Nichole K. Kathol

Nichole K. Kathol

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Quentin Tarantino’s Django Unchained : The Continuation of Metacinema

Bloomsbury Academic, 2014

Book chapter

...In recent memory, few films have polarized audiences like Quentin Tarantino’s Django Unchained (2012). While the film received an abundance of mostly positive reviews from critics, Django aroused a sizable group of objectors to voice...

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

...Django Unchained tells the story of Dr. “King” Schultz (Christoph Waltz), who liberates a slave, Django (Jamie Foxx), from the Speck Brothers (James Remar and James Russo) so that he can then use Django’s familiarity with the Brittle...

Django and Lincoln: The Suffering Slave and the Law of Slavery

Gregory L. Kaster

Gregory L. Kaster

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Quentin Tarantino’s Django Unchained : The Continuation of Metacinema

Bloomsbury Academic, 2014

Book chapter

...Released in a season of Civil-War sesquicentennials—of the war itself, the Emancipation Proclamation, the Gettysburg Address, and the Thirteenth Amendment—Quentin Tarantino’s Django Unchained and Steven Spielberg’s Lincoln inevitably invite...

“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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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...

Postmodern Multiracial, Keanu Reeves

Gerald Sim

Gerald Sim is Associate Professor of film studies at Florida Atlantic University. His writing on topics ranging from national cinema to digital cinematography, financial television, and film music theory appears in Film Quarterly, Inter-Asia Cultural Studies, Projections, Rethinking Marxism, the Quarterly Review of Film and Video, Discourse, and other venues. Author affiliation details are correct at time of print publication.

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The Subject of Film and Race : Retheorizing Politics, Ideology, and Cinema

Bloomsbury Academic, 2014

Book chapter

...The advance of postmodern culture intensified critical race film theory’s offensive against the subject while fortifying poststructuralist positions. As a subset of poststructuralism, postmodern theory shares a suspicion of the subject...