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1	Once Upon a Time in Tarantino-Occupied Carnage: A Study of the Aesthetic Affectations and the Moral Dilemmas Powering Violence in the Revenge Cinema of Quentin Tarantino Katz, Joshua 15 April 2014 (has links) This thesis examines the critical response to Quentin Tarantino’s representations of screen violence, primarily the violent content in his three revenge thrillers: Kill Bill (2003-4), Inglourious Basterds (2009), and Django Unchained (2012). Throughout Tarantino’s career, critics have attacked him for aestheticizing bloodshed to such a degree that it becomes a glib, pop culture affectation, and the empirically larger amounts of violent content in the revenge thrillers has only encouraged this claim. This paper argues for a recontextualization of how Tarantino wields brutality throughout these three pictures, that the rise in graphic content reflects a greater engagement with social-moral concerns in a manner that is both socially responsible – to echo Susan Sontag’s views on visual representations of violence in Regarding the Pain of Others (2003) – and creatively consistent among those artists looking to retain their cultural significance as they age. Violence Tarantino Kill Bill Django Unchained Inglourious Basterds Quentin Tarantino Arts and Humanities English Language and Literature
2	«Vold» og VOLD : En studie av vold med utgangspunkt i Inglourious Basterds og Funny Games / «Violence» and VIOLENCE : A study of violence in Inglourious Basterds and Funny Games Thorvaldsen, Astrid January 2014 (has links) No description available. quentin tarantino michael haneke vold fiksjonsvold filmvold funny games inglourious basterds murray smith anne gjelsvik engasjement
3	Maktens former och inflytande i förhör : En semiotisk bildanalys av makt i Inglourious Basterds förhörsscener / A Semiotic Image Analysis of Power in Inglourious Basterds’ Interrogation Scenes Lönnqvist, Vendela, Ågren, Rikard January 2022 (has links) Syftet med denna uppsats är att undersöka dels vilka former av makt som den drivande karaktären Hans Landa i filmen Inglourious Basterds (2009) använder sig av i två utvalda förhörsscener, dels hur mise-en-scène i form av föremål, kostym och gester nyttjas för att presentera makt. Uppsatsen tar avstamp i en semiotisk bildanalys, med teorin om maktbas som grund. Analysen kommer fram till att karaktären Hans Landas makt framstår i de fyra olika maktbaserna legitim makt, tvingande makt, belöningsmakt och informationsmakt. Slutsatsen finner även likheter i scenerna, så som den vita färgen i föremål som mjölkglas och grädde samt dess konnotation till det oskyldiga. Föremål med vit färg är något Landa i båda scenerna förstör på olika sätt, vilket kopplas till hans position som SS-soldat. Makt Film Semiotisk analys Mise-en-scène Förhör Tarantino Inglourious Basterds Studies on Film Filmvetenskap
4	MILKY BODIES, OFF-WHITE MENACE: IDENTITY, MILK AND ABJECT FEMININITY IN RECENT US MEDIA Oberhammer, Tierney 12 November 2010 (has links) No description available. American Studies maternal abject abjection monstrous feminine femininity milk whiteness mimicry Strain Hills Have Eyes Mr. Brooks Inglourious Basterds Professional Always Sunny Philadelphia
5	Cinema plays history : National Socialism and the Holocaust in counterfactual historical films of the twenty-first century Melchers, Alma Louise Sophia January 2018 (has links) Inspired by 2009 pastiche Inglourious Basterds (US/DE), my research presents counterfactual historical film, firstly, as a marginalised type of film: the 2000s and 2010s have seen an abundance of overtly fictional films which do not intend to represent the past but nonetheless playfully refer to imageries of National Socialist and Holocaust history. These films have so far been neglected by historical film studies which, despite a consensus not to judge films according to their factual accuracy, tend to focus on genres close to historiography. My research considers as historical films the counterfactual parodies Churchill: The Hollywood Years (GB 2004) and Mein Führer: Die wirklich wahrste Wahrheit über Adolf Hitler (DE 2007), as well as Inglourious Basterds and, in a brief conclusion, Nazi zombie films. In this sense, counterfactual historical film is, secondly, a research approach which suggests reconfiguring academic definitions of the field of history and film and historical film. Assuming that historical film never visualises past reality but engages with a history that is always already medialised, I propose that the above films despite their counterfactual plots embark on a visual historical discourse, and what is more reflect upon cinema and history in their own enlightening ways. My analyses show how twenty-first century counterfactual historical films revise Nazi and Holocaust visual history, and how they describe National Socialist history as visually constructed and historical Nazism as an eclectic amalgamation drawing on fictional as well as factual media sources. In regard to the present, they explore tensions between popular and academic culture through the dissolving binaries of fiction film and historiographical fact, and propose to recognise the reciprocity of media representation and actual past as an object of research in its own right. My research demonstrates the value of cinema's playful engagement with history as a potential contribution to the theory and practise of historical film studies. 400
6	Zeit/Geschichte: Amerikanische Alternate Histories nach 9/11 / Post-9/11 Alternate Histories Otten, Birte 25 January 2013 (has links) Zeit/Geschichte: Amerikanische Alternate Histories nach 9/11 untersucht die Entwicklung kontrafaktischer Geschichtstexte, sogenannter alternate histories, vor dem Hintergrund des öffentlichen Diskurses in den USA nach dem 11. September 2001. Dabei konzentriert sich die Studie auf die formalen und generischen Eigenschaften neuerer „Mainstream-alternate histories“ seit den Terroranschlägen. Obwohl keiner der drei untersuchten Texte – Philip Roths The Plot Against America, Michael Chabons The Yiddish Policemen's Union sowie Quentin Tarantinos Inglourious Basterds – von den 9/11-Anschlägen handelt, geben doch alle drei Einblicke in die Beziehungen zwischen dem 9/11-Diskurs und jüngeren Entwicklungen im literarischen bzw. kulturellen Feld. Dabei erweist sich alternate history als ein Genre, das mit seiner thematischen, strukturellen und medialen Variabilität ermöglicht, 9/11-spezifische Veränderungen darzustellen und gleichzeitig den 9/11-Diskurs selbst zu beeinflussen. Die vorliegende Studie zeigt auf, wie sich die untersuchten Texte aktiv in den 9/11-Diskurs einschreiben, um nicht nur zeitgenössische Erfahrungen, Entwicklungen und Empfindungen, sondern auch Fragen nach Geschichte und Vergangenheitsdarstellungen zu beantworten. 400 800 alternate history alternative Geschichte kontrafaktisch 9/11 11. September 2001 9/11-Diskurs Geschichtsroman historischer Roman Philip Roth Michael Chabon Quentin Tarantino Verschwörung gegen Amerika Die Vereinigung jiddischer Polizisten Inglourious Basterds alternate history alternative history counterfactual 9/11 September 11, 2001 9/11 discourse allohistory historical novel Philip Roth Michael Chabon Quentin Tarantino The Plot Against America The Yiddish Policemen's Union Inglourious Basterds historiography Philologien (PPN621711713)

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