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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...

Suffocating kinesis: The late films of Aleksey Gherman

Fredric Jameson

Fredric Jameson

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

Bloomsbury Academic, 2016

Book chapter

...Who will deliver us from the unexpected restoration of the reign of beauty and its disreputable ideology, aesthetic philosophy? In a society in which the near-total commodification of the world, linked with the already looming world market,...

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...

A generational spectrum of global Korean auteurs: Political matrix and ethical potential

Seung-hoon Jeong

Seung-hoon Jeong is Assistant Professor of Cinema Studies at New York University Abu Dhabi. He wrote Cinematic Interfaces: Film Theory After New Media and co-translated Jacques Derrida’s Acts of Literature into Korean (both 2013). Author affiliation details are correct at time of print publication.

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

Bloomsbury Academic, 2016

Book chapter

...The “386” generation as collective auteur In order to conduct a case study on how twenty-first century cinema has contributed to the development of political sensitivity in a local setting of immanent globality, I consider four contemporary...

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...

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...