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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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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...

Hark, Hark, the (dis)Enchanted Kantian, or Tarantino’s “Evil” and Its Anti-Cathartic Resonance

Dara Waldron

Dara Waldron is a Lecturer in Critical and Contextual Studies at the Limerick Institute of Technology, Republic of Ireland, with a particular focus on Lens-Based media (differing forms of moving image practices). He is the author of Cinema and Evil: Moral Complexities and the “Dangerous” Film (2013). 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

...“Okay,” he said, “listen to this.” He started to pace between the drawing tables, looking down at his feet, declaiming in a sharp, barking tenor that Joe recognized from the announcers on American radio. “To, uh, to all those who, uh, toil...

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

...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,...

Provocation and perversity: Lars von Trier’s cinematic anti-philosophy

Robert Sinnerbrink

Robert Sinnerbrink

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

Bloomsbury Academic, 2016

Book

...Ever since his early “European” features and provocative Dogme 95 period, Lars von Trier has been both celebrated as a brilliant stylist and criticized as a cynical charlatan. What his twenty-first century “cinema of cruelty”Indeed, von...

Inglourious music: revenge, reflexivity, and Morricone as muse in Inglourious Basterds

Lisa Coulthard

Lisa Coulthard

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book

...While Inglourious Basterds shares its focus on revenge with many of Tarantino’s other films, it distinguishes itself by the way in which this vengeance moves beyond human parameters to encompass the revenge of cinema itself. Cinema...

Tarantino’s Pulp Fiction and Baudrillard’s Perfect Crime

Randy Laist

Randy Laist is Associate Professor of English at Goodwin College, US. He is the author of Technology and Postmodern Subjectivity in Don DeLillo’s Novels and the editor of Plants and Literature: Essays in Critical Plant Studies and Looking for Lost: Critical Essays on the Enigmatic Series. Author affiliation details are correct at time of print publication.

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Cinema of Simulation : Hyperreal Hollywood in the Long 1990s

Bloomsbury Academic, 2015

Book

...Tarantino’s Pulp Fiction has frequently been identified as a postmodern film—it has been called “one of the paradigmatic texts of the postmodern movement” (Morton), a “terminally hip postmodern collage,” (Hirsch 360), an example...