Relevant bibliographies by topics / Inglourious basterds

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Academic literature on the topic 'Inglourious basterds'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Inglourious basterds"

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Jones, Mary Jo. "Inglourious Basterds." Journal of Feminist Family Therapy 22, no. 4 (2010): 325–28. http://dx.doi.org/10.1080/08952833.2010.526071.

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Walters, Ben. "Debating Inglourious Basterds." Film Quarterly 63, no. 2 (2009): 19–22. http://dx.doi.org/10.1525/fq.2009.63.2.19.

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Schnee, Ian. "Ideology, Socratic elenchus, and Inglourious Basterds." Film and Philosophy 17 (2013): 1–22. http://dx.doi.org/10.5840/filmphil2013172.

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Mingant, Nolwenn. "Tarantino’s Inglourious Basterds: a blueprint for dubbing translators?" Meta 55, no. 4 (2011): 712–31. http://dx.doi.org/10.7202/045687ar.

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Released in 2009, Quentin Tarantino’s Inglourious Basterds1 is representative of a recent trend of multilingual films in Hollywood. The inclusion of one or several languages other than English can be problematic for dubbing translators when the films is exported. The comparison between the original version of Inglourious Basterds and its French dubbed version offered in this article brings to light a number of translation issues. The idea of the codified relationship with the audience leads us to explore notions of conventions, contrivances, and suspension of disbelief, whether in the native l
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Suleiman, Susan Rubin. "The Stakes in Holocaust Representation: On Tarantino’s Inglourious Basterds." Romanic Review 105, no. 1-2 (2014): 69–86. http://dx.doi.org/10.1215/26885220-105.1-2.69.

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Chrystall, Andrew. "Inglourious Basterds: Satirizing the spectator and revealing the ‘Nazi’ within." New Cinemas: Journal of Contemporary Film 13, no. 2 (2015): 153–68. http://dx.doi.org/10.1386/ncin.13.2.153_1.

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Rieder, John. "Race and revenge fantasies in Avatar, District 9 and Inglourious Basterds." Science Fiction Film & Television 4, no. 1 (2011): 41–56. http://dx.doi.org/10.3828/sfftv.2011.3.

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Chen, Cui, and Fuying Shen. "Unheeded history: screening savage native Americans in Quentin Tarantino’s Inglourious Basterds." Rethinking History 25, no. 2 (2021): 186–206. http://dx.doi.org/10.1080/13642529.2021.1911445.

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Palmer, Christoph. "Ein weiterer Pfeiler tut not! Die deutsche Filmförderung vor einem großen Schub." MedienWirtschaft 15, no. 2 (2018): 29–33. http://dx.doi.org/10.15358/1613-0669-2018-2-29.

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Die deutsche Filmförderung ist ein Erfolgsmodell.Die Einführung des Deutschen Filmförderfonds (DFFF) 2007 unter der Ägide von Kulturstaatsminister Bernd Neumann hat nachhaltige Effekte ausgelöst. Seit seinem Start 2007 bis zum Ende des vergangenen Jahres wurden durch den DFFF 1.187 Produktionen mit einem Fördervolumen von 651 Mio. Euro sowie Investitionen von rund 3,8 Mrd. Euro am Filmstandort Deutschland ausgelöst. Zahlreiche internationale Großprojekte fanden den Weg nach Deutschland, darunter Tarantinos „Inglourious Basterds“, Andersons „Grand Budapest Hotel“ oder Clooneys „Monuments Men“.
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Stella Setka. "Bastardized History: How Inglourious Basterds Breaks through American Screen Memory." Jewish Film & New Media 3, no. 2 (2015): 141. http://dx.doi.org/10.13110/jewifilmnewmedi.3.2.0141.

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Dissertations / Theses on the topic "Inglourious basterds"

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Lehto-Rautio, M. (Minna). "On the Finnish translation of dialect in Quentin Tarantino’s Inglourious Basterds." Master's thesis, University of Oulu, 2015. http://urn.fi/URN:NBN:fi:oulu-201512032231.

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The title of this Pro Gradu Thesis is “On the Finnish translation of dialect in Quentin Tarantino’s Inglourious Basterds”. It is a study of Appalachian English translated into non-standard Finnish, and as the material for the thesis is a motion picture, special emphasis is put on audiovisual translating. The data for this study comes from Quentin Tarantino’s film Inglourious Basterds (2009) and its Finnish translation by Timo Porri. The character of interest for this study is Lieutenant Aldo Raine. The focus of this thesis was to examine what decisions the translator has made in order to achie
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Cook, Jared Welling. "Nazisploitation and the Problem of Violence in Quentin Tarantino's Inglourious Basterds." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2698.

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In this thesis, I explore the representation of Nazis and violence in Quentin Tarantino's Inglourious Basterds (2009), including how the film proposes justification for violence and murder, and how the film participates in cultural fantasies. The film presents an alternate outcome of World War II in which the Allies achieve victory by assassinating Hitler and the High Command of the Third Reich in a movie theater. The Nazis in the film, far from being a complex enemy, are used for their token villain status. Using the Nazis in this way both participates in and reinterprets the Nazisploitation
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Thorvaldsen, Astrid. "«Vold» og VOLD : En studie av vold med utgangspunkt i Inglourious Basterds og Funny Games." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for kunst og medievitenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-24943.

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Grimalt, Esther. "La mise en fiction de la Shoah dans la Danse de Gengis Cohn de Romain GARY, Inglourious Basterds de Quentin TARANTINO et The Passenger de Mieczyslaw WEINBERG." Thesis, Avignon, 2019. http://www.theses.fr/2019AVIG1195.

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« Seuls ceux qui ont connu Auschwitz savent ce que c’était. Les autres ne le sauront jamais. » Cette vérité proclamée par Élie Wiesel résume à elleseule l’impossibilité de se représenter ce qu’ont enduré les victimes du nazisme, qu’elles soient juives, tziganes, homosexuelles ou opposantespolitiques. En effet si l’on ne peut se représenter leurs tribulations comment pouvons-nous imaginer les représenter ? Cette question fut celle quiprésida à l’émergence du concept d’irreprésentabilité, défendu notamment par Claude Lanzmann, concept qui devint tôt une injonction qui condamnaittoute entreprise
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Katz, Joshua. "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." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/586.

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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
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Quiroz, Linares Andrea del Rosario. "La estetización de la violencia en las películas Inglourious Basterds y Django Unchained del cineasta Quentin Tarantino como un instrumento enunciativo de la violencia de las víctimas y los victimarios." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2016. http://tesis.pucp.edu.pe/repositorio/handle/123456789/7552.

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El presente trabajo de investigación es un estudio acerca de las técnicas y recursos formales audiovisuales que conforman la estética del cine en relación con la violencia representada en dos obras cinematográficas: Inglourious Basterds (2009) y Django Unchained (2012). Esto surge a partir de un interés particular por los intensos, inagotables y diferentes modos de retratar la violencia en el cine a lo largo de su historia, originando obras tan diversas como las apreciaciones que se hacen de ellas: hay quienes la encuentran atractiva y otros para quienes es repulsiva. El director de ci
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Oberhammer, Tierney. "MILKY BODIES, OFF-WHITE MENACE: IDENTITY, MILK AND ABJECT FEMININITY IN RECENT US MEDIA." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1288363890.

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Melchers, Alma Louise Sophia. "Cinema plays history : National Socialism and the Holocaust in counterfactual historical films of the twenty-first century." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/14340.

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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 coun
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Otten, Birte. "Zeit/Geschichte: Amerikanische Alternate Histories nach 9/11." Doctoral thesis, 2013. http://hdl.handle.net/11858/00-1735-0000-0028-8697-8.

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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
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Books on the topic "Inglourious basterds"

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Tarantino, Quentin. Inglourious basterds: A screenplay. Little, Brown and Co., 2009.

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Tarantino, Quentin, and Walter Ahlers. Inglourious basterds: Das Drehbuch. Luchterhand-Literaturverl., 2009.

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Tarantino, Quentin. Inglourious basterds: A screenplay. Little, Brown and Co., 2009.

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Quentin Tarantino's Inglourious basterds: A manipulation of metacinema. Continuum, 2012.

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Quentin Tarantino gegen die Nazis: Alles über Inglourious basterds. Bertz + Fischer, 2011.

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Tarantino, Quentin. Besslavnye ubli Łudki: St Łsenarii. Izd-vo "AST", 2009.

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Bad history and the logics of blockbuster cinema: Titanic, Gangs of New York, Australia, Inglourious basterds. Palgrave Macmillan, 2012.

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Inglourious Basterds. Faber and Faber Ltd, 2009.

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Inglourious Basterds. Little, Brown and Company, 2009.

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Dassanowsky, Robert von, ed. Quentin Tarantino’s Inglourious Basterds. Continuum International Publishing Group, 2012. http://dx.doi.org/10.5040/9781628928907.

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Book chapters on the topic "Inglourious basterds"

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Boswell, Matthew. "Inglourious Basterds (Quentin Tarantino)." In Holocaust Impiety in Literature, Popular Music and Film. Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230358690_11.

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Young, Alison. "Ambivalence and the spectatorship of violence: viewing Inglourious Basterds." In Envisioning Legality. Routledge, 2017. http://dx.doi.org/10.4324/9781315648637-6.

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McGee, Patrick. "Conclusion: The Glorious Truth about Inglorious History in Quentin Tarantino’s Inglourious Basterds." In Bad History and the Logics of Blockbuster Cinema. Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137012531_5.

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"Inglourious Basterds (2009)." In Quentin Tarantino. Wilhelm Fink Verlag, 2016. http://dx.doi.org/10.30965/9783846760697_011.

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Bildhauer, Bettina. "Visuality, Violence and the Return of the Middle Ages: Quentin Tarantino’s Inglourious Basterds as an Adaptation of the Nibelungen Story." In The Middle Ages in the Modern World. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266144.003.0014.

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This chapter argues for the first time that Quentin Tarantino based his film Inglourious Basterds in part on the medieval tale of the Nibelungs, as mediated chiefly through Fritz Lang’s Nibelungen. Inglourious Basterds can therefore be fruitfully read as an instance of medievalism, perpetuating as well as re-evaluating the widespread association of the Middle Ages with violence. An awareness of this intertext allows a nuanced interpretation of Inglourious Basterds’ stance on the power as well as manipulability of visual signs, always seen in the context of their materiality. Tarantino’s adaptation also allows fresh perspectives on the medieval Song of the Nibelungs, especially on its depiction of violent revenge. These in turn throw into relief Tarantino’s interpellation of the viewer through violence and other techniques to prevent the passive spectator position that popular culture is often accused of demanding. The film succeeds in subtly altering the conventions of cinematic representations of premodernity, and in re-appropriating a tainted national origin myth for an international audience.
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Roche, David. "“What Shall the History Books Read?”." In Quentin Tarantino. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819161.003.0002.

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It starts by considering Tarantino’s turn to historical material from Inglourious Basterds on. Like many historical films, Inglourious Basterds, Django Unchained and The Hateful Eight have been criticized for misrepresenting historical facts and experiences or, worse, disrespecting them, but I argue that this turn, in effect, makes explicit the mode by which metafiction investigates the relationship between fiction and reality. Engaging with film history through allegory does not preclude an engagement with history; on the contrary, it constitutes the means by which the films inscribe themselves within cultural history.
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Peretz, Eyal. "What Is a Cinema of Jewish Vengeance?" In The Off-Screen. Stanford University Press, 2017. http://dx.doi.org/10.11126/stanford/9781503600720.003.0005.

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This chapter examines film genre by taking a look at the project of a cinematic heir of Hawks, Quentin Tarantino, in his Inglourious Basterds. Moving as he does between multiple genres without hierarchy, Tarantino discovers in Inglourious Basterds the weight behind this logic, which is that of making the screen the arena of a historical witnessing to the dimension of the “off”. The film expresses three main cinematic ideas. First, that the only way for film to activate the dimension of the “off” is by creating an unstable generic system where cracks between genres allow the “off-screen” to leak into the film. Second, that violence has to do with the attempt to eliminate the “off,” and is always accompanied by the creation of images without an “off.” Third, that the task of the modern cinematic image is to liberate the image from all false images.
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Rau, Petra. "‘Operation Kino’: Quentin Tarantino’s Inglourious Basterds as Metacinematic Farce." In Our Nazis. Edinburgh University Press, 2013. http://dx.doi.org/10.3366/edinburgh/9780748668649.003.0006.

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"Hitler goes kaput. Zu Quentin Tarantinos kontrafaktischem Geschichtsspektakel Inglourious Basterds." In 'Holocaust'-Fiktion. Wilhelm Fink Verlag, 2015. http://dx.doi.org/10.30965/9783846755051_017.

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Schopp, Andrew. "‘Gettin’ Dirty’: Tarantino’s Vengeful Justice, the Marked Viewer and Post-9/11 America." In American Cinema in the Shadow of 9/11. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474413817.003.0009.

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Andrew Schopp argues that the representation of morality and history in Inglorious Basterds (2009), Django Unchained (2012) and The Hateful Eight (2015) is a particularly complicated and distinctly post-modern one, inherently connected to the American vision of the world after 9/11. His analysis of Tarantino's texts from the perspective of justice, civilisation and revenge make an invaluable contribution to existing commentaries on Tarantino's work. He also considers their status as allohistorical narratives (commonly referred to as alternative history) which encompasses an awareness of the fact that Tarantino’s films are seemingly divided into a unified diegetic world in which a significant number of his characters reside (see Reservoir Dogs [1992], Pulp Fiction [1994], Inglorious Basterds, Django Unchained and The Hateful Eight) and the films that these characters might go to see in this alternate universe (Death Proof [2007], Kill Bill: Volume One [2003], Kill Bill: Volume Two [2004]). On the surface a range of interrelated strands connect his films like the branding of Red Apple cigarettes, characters being related to each other i.e. the Vega brothers in Pulp Fiction and Reservoir Dogs, Sergeant Donny Donowitz in Inglourious Basterds being the father of filmmaker Lee Donowitz in True Romance (1993), and recently ‘English’ Pete Hickox in The Hateful Eight being an ancestor of Archie Hickox in Inglorious Basterds, but this fluidity is complicated even further both by Tarantino’s liberal appropriation of material from other sources as inspiration and they way the films seem to both reflect, engage and even comment on each others' narratives.
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