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  • Tarantino, Quentin
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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

...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...

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

...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

...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...

Reservoir Dogs

Jason Wood

Jason Wood is a writer, film programmer and filmmaker. He is Artistic Director of Film at HOME, Visiting Professor at MMU and Visiting Professor at University of Salford, UK, and the author of a number of books including The Faber Book of Mexican Cinema (2006), Nick Broomfield: Documenting Icons (2005), 100 Road Movies (BFI 2007) and Talking Movies: Contemporary World Directors in Interview (2006). He contributes to a range of publications including Sight & Sound, The Guardian, Vertigo and Little White Lies. Author affiliation details are correct at time of print publication.

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100 American Independent Films : BFI Screen Guides

British Film Institute, 2009

Book

...Acquired by Miramax following a frenzied Sundance screening at which even US indie sage John Pierson admits to having been ‘blown away’ (Pierson, 1996, p. 213), the impact of Reservoir Dogs on the industry was as radical as sex, lies...

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

...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...

“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

...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...

“Black in white”: Language, world-making and the American contract in the cinema of Quentin Tarantino

John Pitseys

John Pitseys

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

Bloomsbury Academic, 2016

Book

...Quentin Tarantino’s cinema is a cinema of words and transactions. Speech is often literally mise-en-scène in his films, as in the fabled dialogues of Pulp Fiction (1994). It is sometimes doubled by camera placement, movements, and editing...

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

...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...

“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

...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...

“Hand in Hand We’ll Get There”:—the Racial Politics of The Hateful Eight

Thomas Moodie

Thomas Moodie

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Reframing Cult Westerns : From The Magnificent Seven to The Hateful Eight

Bloomsbury Academic, 2020

Book

...Introduction The Hateful Eight (2015) is the third of Quentin Tarantino’s films in which a narrative of fantasy revenge unfolds against a historical backdrop of hostile race relations, in this case the immediate aftermath of the American...