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“A slight duplication of efforts”: redundancy and the excessive camera in Inglourious Basterds

Chris Fujiwara

Chris Fujiwara

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...At the end of the opening credits, a white-on-black title appears: Chapter One/Once upon a time … /in Nazi-occupied France. It is the first of five titles that divide Inglourious Basterds into chapters. After the title, the first shot...

“Fire!” in a crowded theater: liquidating history in Inglourious Basterds

Sharon Willis

Sharon Willis

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...Quentin Tarantino maintains a consistent obsession with the cinema as cinephilia, which he invites his audience to share, in his work’s explicit and ironic play with film history. His films present us with clever, wry, and often...

“What shall the history books read?” The debate over Inglourious Basterds and the limits of representation

Todd Herzog

Todd Herzog

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...In the early 1990s, Mike Godwin formulated a theory of internet behavior that has since become known as Godwin’s Law of Nazi Analogies: “As an online discussion grows longer, the probability of a comparison involving Nazis or Hitler...

Experimental Films II: Lost and Found (Footage)

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: Look What I Found Found footage films are works that adopt a technique of assemblage to make meaning from images; that is, a strategy of collecting and editing together ephemeral material to fashion something entirely new....

Vengeful violence: Inglourious Basterds, allohistory, and the inversion of victims and perpetrators

Michael D. Richardson

Michael D. Richardson

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...When Quentin Tarantino’s long-planned war film premiered at Cannes, it received a nearly ten-minute-long standing ovation.Wigney, James, “Quentin’s Glory Days.” Sunday Mail (South Australia), August 16, 2009, 91. Following its full release,...

Disruptive violence as means to create a space for reflection: thoughts on Tarantino’s attempts at audience irritation

Alexander D. Ornella

Alexander D. Ornella

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...Introduction Quentin Tarantino’s latest violent masterpiece Inglourious Basterds has been well yet critically received. Many reviewers have pointed out that the film is morally ambivalent the least because of the aesthetics of violence...

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

...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...

Reels of justice: Inglourious Basterds, The Sorrow and the Pity, and Jewish revenge fantasies

Eric Kligerman

Eric Kligerman

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...In his 1978 film Annie Hall, Woody Allen plays a Jewish Pygmalion, Alvy Singer, who tries to educate his gentile girlfriend by introducing her to literature, psychoanalysis and foreign films. In perhaps the film’s most memorable scene...

Inglourious Basterds and the gender of revenge

Heidi Schlipphacke

Heidi Schlipphacke

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...Quentin Tarantino’s re-telling of the history of WWII, Inglourious Basterds, begins with an extreme long shot of a pristine French meadow with a simple farmhouse in the background. To the left of the farmhouse we see a small figure...

Exploding cinema, exploding Hollywood: Inglourious Basterds and the limits of cinema

Imke Meyer

Imke Meyer

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...“Greetings, Jerusalem, I am deeply sorry.” These are the words Hitler speaks—in Hebrew—in a video the artist Boaz Arad created in the year 2000. Arad spliced together many “very short film clips from Hitler’s propaganda speeches to produce...