Quentin Tarantino, Film studies

La relation qu’entretient Tarantino avec le classicisme ne paraît pas d’emblée évidente tant le cinéaste américain (s’)est associé au cinéma indépendant, d’exploitation, d’art et d’essai ou encore au blockbuster. Mais si cette présence est somme toute assez modeste relativement à l’hégémonie de Hollywood, c’est justement parce que le projet esthétique et politique tarantinien est fondé sur un engagement passionné avec ce pendant de la culture mainstream, démarche qui s’inscrit dans la continuité des Nouvelles Vagues des années 1960-1970 et que l’on retrouve dans le cinéma indépendant ou off-Hollywood des années 1980-2000.

A reading of gendered violence, body horror, "hyperreality," and postmodern cinematic nostalgia in Quentin Tarantino's 'Death Proof' through Jean Baudrillard's 'Simulacra and Simulation' and 'America' as well as Gilles Deleuze's "Coldness and Cruelty" ('Masochism').

Este libro expone el cine de Quentin Tarantino haciendo uso de la violencia como hilo conductor. El autor argumenta que Tarantino hace estética a la violencia al separarla de la realidad y separándola de sus consecuencias reales. Al convertirla en algo evidentemente ficticio, permite que los espectadores la disfrutemos estéticamente.

Attraverso strumenti filosofici di interpretazione, il presente saggio indaga le ragioni del successo del cinema di Quentin Tarantino, concentrandosi sulla complessità teorica che categorie come quelle di simulacro, violenza, citazione e vendetta, assumono nel suo immaginario e nell'odierna produzione massmediale. Partendo da un'analisi attenta e puntuale di alcuni episodi significativi del cinema commerciale degli ultimi anni, per arrivare a considerazioni generali relative al ruolo e al valore che il cinema assume nella nostra epoca, Alessandro Alfieri propone un'analisi estetico-filosofica accurata di alcune delle più celebri pellicole del regista americano. "Kill Bill", "Death Proof", "Inglourious Basterds" e "Django Unchained" mettono in scena infatti il passaggio da un'estetica simulacrale all'irruzione della storia nella narrazione, ovvero l'approdo a una dimensione morale e critica in grado di liberare il regista dall'idea diffusa di essere solamente un cavaliere della postmodernità.

; es un director, escritor, productor y actor cinematográfico. Nació el veintisiete de marzo de mil novecientos sesenta y tres (1963), en Knoxville, Tennessee. Es hijo de Tony Tarantino; actor y músico amateur y Connie McHugh; una enfermera. Su padre es de ascendencia italiana y su madre es de ascendencia inglesa, irlandesa y alemana. Fue criado por su madre, ya que sus padres se separaron antes de nacer. Cuando tenía dos años, se trasladaron a Torrance, al sur de Los Ángeles y más tarde al barrio de Harbor City, donde tomó clases de Teatro. En su barrio había una mezcla de gentes de diferentes procedencias, por lo que tuvo expuesto a una gran variedad de influencias cinematográficas y de culturas populares, origen del peculiar estilo de sus películas. Asistió al Insitituto de Narbonne durante un año, pero la abandonó para dedicarse tiempo completo a tomar clases de interpretación. Se puso a trabajar en un videoclub en Manhattan Beach, junto a otros entusiastas del cine, entre ellos Roger Avary. Allí discutían de cine y daban recomendaciones a los clientes. Prestó mucha atención a los tipos de películas que le gustaba alquilar a la gente y ha citado la experiencia como fuente de inspiración para su carrera como director. En mil novecientos noventa y uno (1991), escribió el guion de la que sería su primera película; Reservoir Dogs. Su objetivo era rodar la película de forma casera y con amigos. Al final, el famoso productor Lawrence Bender se interesó por el proyecto y en un mes lo convirtió en una película seria, consiguiendo un reparto excepcional. Reservoir Dogs; fue un éxito a nivel mundial y el nombre de Tarantino empezó a sonar entre la gente de la industria. Con su segunda película; Pulp Fiction, se consagró definitivamente como cineasta, ganando el Oscar al mejor guion original en mil novecientos noventa y cuatro (1994). Tras esto, dirigió el cuarto episodio de Four Rooms, The Man From Hollywood, un homenaje a Alfred Hitchcock. Su tercera película fue Jackie Brwon, en mil novecientos noventa y siete (1997), protagonizada por Pam Grier, un icono de los años setenta. Había planeado hacer a continuación una película bélica provisionalmente titulada Inglorious Basterds, pero lo pospuso para escribir y dirigir Kill Bill, una película de venganza que tomaba elementos del manuelverdugo.com

Quentin Tarantino's films beg to be considered metafiction: metacommentaries that engage with the history of cultural representations and exalt the aesthetic, ethical, and political potential of creation as re-re-creation and resignification.

Covering all eight of Quentin Tarantino's films according to certain themes, David Roche combines cultural studies and neoformalist approaches to highlight how closely the films' poetics and politics are intertwined. Each in-depth chapter focuses on a salient feature, some which have drawn much attention (history, race, gender, violence), others less so (narrative structure, style, music, theatricality).

Roche sets Tarantino's films firmly in the legacy of Howard Hawks, Jean-Luc Godard, Sergio Leone, and the New Hollywood, revising the image of a cool pop-culture purveyor that the American director cultivated at the beginning of his career. Roche emphasizes the breadth and depth of his films' engagement with culture, highbrow and lowbrow, screen and print, American, East Asian, and European.

O cinema de Quentin Tarantino é conhecido por fazer referências à diversas culturas comunicacionais que dialogam com gêneros cinematográficos, na maior parte das vezes. Dentro deste contexto, portanto, o artigo analisa os elementos intertextuais inseridos nos filmes Kill Bill (2003, 2004). A metodologia deste trabalho foi analítica e interpretativa, a partir da literatura selecionada na fundamentação teórica. Os resultados alcançados demonstram que as relações intertextuais construídas por Quentin Tarantino, em Kill Bill, não se limitam a uma única forma, variando entre citações, alusões e estilizações intertextuais. Seu foco de gênero é nos filmes de artes marciais produzidos em Hong Kong, e nos Spaghetti Western. E a narrativa utiliza-se de fugas da ordem cronológica e de cenas que vão além da causalidade.

This essay explores the rhythms and releases of violent feelings in Quentin Tarantino’s films, concentrating on his twenty-first century revenge-focused films, in particular The Hateful Eight, Death Proof, and Django Unchained. Gooch argues that Tarantino’s revenge narratives reveal the formal mechanisms by which experiences of stultification yield to violent attempts at escape that are at once pleasurable and impossible. By examining the formal and narrative role of the impasse in Tarantino’s films, Gooch insists that Tarantino’s films operate what Brian Massumi calls an overspilling, a determination to determine an indeterminate threat. The result turns the affect of the impasse—what Lauren Berlant terms cruel optimism—into feelings of righteous indignation that authorize violent retribution.

Americans applied artistic, critical, and cultural approaches in an effort to assimilate the causes and atrocities of their unthinkable history of slavery, war, and acts of genocide. We still fight to comprehend this dubious past while living in an equally atrocious present. At a safe distance from legalized slavery and domestic war, most contemporary citizens have the privilege to view feature films about these topics then process, even post their reactions on the internet. Over the last one-hundred years, content and popular response to the Lost Cause myth of the Old South has degenerated from enthusiastic support to mild sympathy and finally to disgust at the cruel capacity of human nature inherent in this false justification for the institution of slavery and then a divisive war.

Selected films that reflect twenty-first century audience sympathies and tap our continuing struggle to find meaning and justice include Quentin Tarantino’s Django Unchained (2012) and The Hateful Eight (2015). Atrocity photography, the documentation rather than dramatization of historic events, also illuminates the interaction between Civil War images and rhetoric, their audience, and how these change and repeat over time.

The screenplays and films of Quentin Tarantino raise profound comic and ethical dilemmas. Developing ideas from Lacanian psychoanalysis, Botting and Wilson explore ethical issues in relation to Tarantino's work, postmodernity and recent cultural theory. They argue that Tarantino's texts provide a provocative and telling contribution to theorized accounts of contemporary culture.

in: SKUG.at, upload 16. Aug. 2019 **** Mit Once Upon a Time in Hollywood erklärt Quentin Tarantino alte Helden zu Heiligen und die Machtepoche der Blondzeit für endlos verlängert. Zumindest vergehen 160 Minuten Geschichtsrevisionismus hier wie im Fudge. Aber schön fad ist halt schon auch schön, und Kontinuität wäre nichts ohne unser Mittun, und You Keep Me Hanging On.
https://skug.at/life-with-san-quentin-1969-and-since/

Django Unchained, an American western launched in 2012, can be perceived in many different ways. The aim of this study is to look at Quentin Tarantino’s western from the point of view of its genre tradition. Taking into account the poetics of Tarantino’s films I consider Django Unchained as a work of art in which the tradition of the western serves as a kind of matrix to create the afterlife of a text to satisfy contemporary audiences. I try to show that Tarantino treats the western as a work of historical costume to touch difficult social problems of the contemporary world. He does this with the eclectic use of elements of kitsch, hyperbole, theatralization of gesticulation, and a patchwork of cultural traditions, which allows him to juggle with the categories both of profanum and sacrum at the same time.