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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...

“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 chapter

...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 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...

“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...

Kill Bill: Volume 1 (US, 2003): Violence as Art

Philip Gillett

Philip Gillett is an independent film critic and writer and author of The British Working Class in Postwar Film. Author affiliation details are correct at time of print publication.

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Movie Greats : A Critical Study of Classic Cinema

Berg, 2008

Book chapter

...Production companies: A Band Apart / Miramax FilmsProducer: Lawrence BenderDirector/ Screenplay: Quentin TarantinoPhotography: Robert RichardsonProduction design: Yohei Taneda, David WascoArt Director: David BradfordEditor: Sally MenkeCast:...

Abderrahmane Sissako: On the politics of African auteurs

Rachel Gabara

Rachel Gabara

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

Bloomsbury Academic, 2016

Book chapter

...Abderrahmane Sissako is in many ways the epitome of the film director as auteur as the term is commonly used in both academic and cinephilic circles. One of few African filmmakers whose films have circulated widely on the international...

Godard’s stereoscopic essay: Thinking in and with Adieu au langage

Rick Warner

Rick Warner

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

Bloomsbury Academic, 2016

Book chapter

...The auteur as essayist Speaking to a sold-out audience at the US premiere of Jean-Luc Godard’s Goodbye to Language (Adieu au langage, 2014) at the New York Film Festival, Amy Taubin credited the legendary eighty-three-year-old director...

Fatih Akin’s moral geometry

Dudley Andrew

Dudley Andrew

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

Bloomsbury Academic, 2016

Book chapter

...Does anyone doubt that auteur films played a serious role in aesthetic, political, and philosophic discussions of the postwar period until 1968, 1975, or maybe 1989? What about in our era? Is there anything left of the “classic art cinema...

Contemporary Romanian auteurs: Politics, irony, and reflexivity

Dominique Nasta

Dominique Nasta

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

Bloomsbury Academic, 2016

Book chapter

...At the beginning of the twenty-first century, Romania, an East European country from which only a few isolated auteurs had previously gained international visibility, unexpectedly produced one of the few coherent New Waves in the context...