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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

6

... of the opera’s basic plot with the gender reversed makes the expected point regarding man’s inhumanity to (wo)man.Robert von Dassanowsky, “Introduction: Locating Mr. Tarantino or, Who’s Afraid of Metacinema?” in Quentin Tarantino’s Inglourious...

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

Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

1

... more complex visions of the conflict, or at least of the soldiers involved. Robert Aldrich’s controversial portrayal of incompetence and corruption in the military leadership in Attack (1956) was considered so unflattering that the U.S....

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

Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

1

... (Bridget von Hammersmark), a film critic (Archie), a cinema owner (Shosanna), a projectionist (Marcel), and the Basterds (Aldo, Omar and Donnie) posing as Italian filmmakers and industry workers. Their enemies are equally cinematically...

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

Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

3

... of artificial binary oppositions for purposes of plot construction and the critique of such a device.In this context, see also Robert von Dassanowsky, “‘You Wouldn’t Even Believe What Your Eyes Can See’: Cinema’s Messianism and Fascist...

Lulu’s menorah: seeing and Nazi-ing

Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

1

... is something which only Julia Roberts or Charlize Theron can do, in films that cast their spell with the inevitable, wearying power of myth, just as, in Teutonic myths, Siegfried slew the dragon and Parsifal recovered the Grail. It was these myths...

Inglourious Basterds and the gender of revenge

Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

2

... seem to be at least as interested in Diane Kruger’s character, the fictional German film actress, Bridget von Hammersmark, and the ways in which she cites German film history. Whereas Bridget von Hammersmark is not a problem, Shosanna...

The Third Reich as Bordello and Pigsty

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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Nazisploitation! : The Nazi Image in Low-Brow Cinema and Culture

Continuum, 2012

Book chapter

4

... leader’, and that he uses it only to attain power, which he will achieve because he knows all the sexual secrets of Hitler’s inner circle. Again there is a strong intertextual relationship between Berger’s Wallenberg and his Martin von...

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 chapter

1

... inserted into a longer scene featuring an injured Bridget von Hammersmark (Diane Kruger) telling the Basterds about Hitler’s impending presence at the screening of Nation’s Pride, we see the Führer himself saying that his attendance...

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

Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

1

... as Italian members of Bridget von Hammersmark’s entourage, are seated in the middle of an orchestra row. The camera cranes down their bodies to their legs; then a round image-within-the-image pops up over the shot, showing the explosives strapped...

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

Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

1

... detail in this chapter. See, for example: Robert Eaglestone, The Holocaust and the Postmodern, (Oxford: Oxford University Press, 2004); Deborah E. Lipstadt, Denying the Holocaust: The Growing Assault on Truth and Memory, (New York: Plume,...