Relevant bibliographies by topics / Kill Bill

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Kill Bill'

Author: Grafiati
Published: 4 June 2021
Last updated: 24 February 2023

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Journal articles on the topic "Kill Bill"

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Pang, Laikwan. "Copying Kill Bill." Social Text 23, no. 2 (2005): 133–53. http://dx.doi.org/10.1215/01642472-23-2_83-133.

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Grant, J. "Kill the Bill." South Atlantic Quarterly 111, no. 1 (January 1, 2012): 205–13. http://dx.doi.org/10.1215/00382876-1472675.

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The Lancet. "It's time to kill this Bill." Lancet 378, no. 9799 (October 2011): 1276. http://dx.doi.org/10.1016/s0140-6736(11)61555-9.

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Debrix, François. "Kill Bill, Volume I and Volume II." Millennium: Journal of International Studies 34, no. 2 (February 2006): 553–57. http://dx.doi.org/10.1177/03058298060340020901.

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Renda, Andrea, and Roberto Pardolesi. "The European Commission’s Case Against Microsoft: Kill Bill?" World Competition 27, Issue 4 (December 1, 2004): 513–66. http://dx.doi.org/10.54648/woco2004029.

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The recent decision issued by the European Commission against Microsoft raises legitimate concerns in many respects. Firstly, the way the Commission handled the proceeding highlighted the impasse that characterises antitrust authorities when dealing with complex cases from the high-tech world. Secondly, the Commission adopted an incorrect approach to interoperability, confusing it with perfect emulation of Microsoft’s copyrighted source code. Thirdly, the Commission showed little or no attention to the economics of technological leveraging in dealing with the media player market, and ended up awkwardly mimicking the rationale upheld by the US District Judge in the "browsers war". We conclude by calling for more sound economic analysis at the European Commission, and suggesting solutions which would significantly improve the level-playing-field in the server software and in the media player markets without hindering incentives to invest and consequently stifling innovation.
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WHITE, EILEEN. "FROM SHANE TO KILL BILL: RETHINKING THE WESTERN." Journal of Film and Video 61, no. 3 (October 1, 2009): 61–63. http://dx.doi.org/10.2307/20688638.

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Dawson, Lesel. "Revenge and the Family Romance in Tarantino’s Kill Bill." Mosaic: a journal for the interdisciplinary study of literature 47, no. 2 (2014): 121–34. http://dx.doi.org/10.1353/mos.2014.0022.

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Gordon, Paul. "Judith and Beatrix: Oedipal Echo-Effects in Kill Bill." American Imago 76, no. 1 (2019): 49–66. http://dx.doi.org/10.1353/aim.2019.0003.

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Fioravante, Karina Eugenia, and Almir Nabozny. ""A Vingança é um prato que se come frio": a construção da paisagem cinemática em Tarantino." ENTRE-LUGAR 10, no. 19 (July 30, 2019): 298–318. http://dx.doi.org/10.30612/el.v10i19.8916.

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O objetivo desta reflexão é discutir a construção da paisagem cinemática nos filmes Kill Bill vol. 01 e Kill Bill vol. 02 do cineasta norte-americano Quentin Tarantino. Primeiramente, é discutido a especificidade das paisagens cinemáticas no contexto da Geografia. Em um segundo momento, utiliza-se como recurso metodológico elementos próprios da técnica cinematográfica como enquadramentos, planos, ângulos, movimentos de câmera, cor e iluminação e chegou-se a conclusão de que os cenários e paisagens que compõe os filmes são criados a partir de práticas diferenciadas que conferem aos filmes paisagens que evidenciam elementos de pertencimento e não pertencimento, de coerência e estranhamento, de linearidade e subversão, bem como, de harmonia e incômodo.
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Göksel Demiray, Basak. "The Avenging Females: A Comparative Analysis of Kill Bill Vol.1-2, Death Proof and Sympathy for Lady Vengeance." CINEJ Cinema Journal 1, no. 2 (April 8, 2012): 29–35. http://dx.doi.org/10.5195/cinej.2012.40.

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This paper provides a comparative analysis of Quentin Tarantino’s Kill Bill Vol.1-2 (2003, 2004), Death Proof (2007) and Park Chan Wook’s Sympathy for Lady Vengeance (Chinjeolhan Geumjassi, 2005). The primary objectives of this study are: (1) to reveal the gender-biases inherent to the fundamental discursive structures of the foregoing films; (2) to compare and contrast the films through an analysis of the ‘gaze(s)’ and possible ‘pleasures’, which are inherent in their narratives, in relation to Laura Mulvey’s and Carol Clover’s approaches; and (3) to distinguish Kill Bill Vol.1-2 from the foregoing two and the ‘avenging female’ clichés of the other horror/violence movies in the context of the replaced positionings of its protagonist and antagonist inherent in its distinct narrative style.
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Dissertations / Theses on the topic "Kill Bill"

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Carlefred, Liza, and Linda Hagberg. "En kvinnas hämnd : Kill Bill och actionhjältinnan." Thesis, Linköping University, Department of Thematic Studies, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2414.

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I december 2003 gick filmen Kill Bill upp på biograferna med ett våldsamt och blodigt innehåll. Reaktionerna blev starka, vilket kan bero på att Kill Bill är en actionfilm där kvinnorna har en annan roll än den lättklädda medhjälparen. Då kvinnorna står i fokus var filmen som gjord för en analysav hur just kvinnan gestaltas i filmens värld. Syftet med uppsatsen är att undersöka om de patriarkala strukturerna förändras när typiskt manliga roller intas av kvinnor. Analysen inriktar sig främst på filmen Kill Bill, men diskuterar också det sammanhang i vilket filmen skapats och lanserats det vill säga filmindustrin i Hollywood som knappast gjort sig känd för några jämställdhetssträvanden. In December 2003 the movie Kill Bill premiered.


The reactions to its violent and bloody plot were strong, perhaps because Kill Bill is a film where women play different roles than the usual "sexy assistant", thus also making it suitable for an analysis of how women are represented on screen. The purpose of this thesis is to examine whether the patriarchal structures do change when the typical male part is given to by women characters. The analysis is mainly concentrated on the film Kill Bill, but will also discuss the context in which it was made - the Film Industry in Hollywood which has hardly been known for any ambition to achieve gender equality.

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Katona, Leah Andrea. "The Use of Violence as Feminist Rhetoric: Third-Wave Feminism in Tarantino's Kill Bill Films." CSUSB ScholarWorks, 2008. https://scholarworks.lib.csusb.edu/etd-project/2759.

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For the purpose of this thesis, the main focus of the feminist rhetorical criticism method was specifically linked to gender-related power inequities. This method was especially appropriate for the analysis of how film violence is used as a feminist rhetorical strategy in the Kill Bill films. This thesis is more closely aligned with challenging rhetorical standards as it sought to identify feminist counter positions of rhetoric in film violence.
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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 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.
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4

Lindell, Linus. "Han är bara en vanlig kille som gillar killar - ett normkritiskt undervisningsförsök i manusskrivande, Rörlig Bild B." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-36065.

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Syftet med detta arbete är att undersöka hur normkritisk pedagogik kan vara ett redskap i ämnet Rörlig Bild på gymnasieskolans medieprogram. Inom ramen för uppsatsen har ett undervisningsförsök i kursen Rörlig Bild B genomförts i samband med kursmomentet manusskrivande. Med hjälp av lektionsobservationer, intervjuer och loggböcker har jag undersökt på vilket sätt ett normkritiskt förhållningssätt kan prägla undervisningen samt motverka kränkningar och diskriminering i skolan. Resultaten visar att eleverna anser att det normkritiska arbetet underlättat deras skrivande samt lärt dem skriva bättre och mer spännande manus. Vissa elever menar att undervisningsförsöket utgjort en skillnad jämfört med den övriga skolvardagen i och med att det under lektionerna har varit möjligt att ha diskussioner om normer utan att någon har blivit kränkt.
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Books on the topic "Kill Bill"

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Sinatra, Nancy. Kill Bill: Original soundtrack. Beverly Hills, CA: Band Apart/Maverick, 2003.

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Thurman, Uma. Kill Bill: Original soundtrack. Beverly Hills, CA: Band Apart/Maverick, 2004.

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Privileged to kill. New York: St. Martin's press, 1997.

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Christian, Steltz, Geisenhanslüke Achim, and Steltz Christian, eds. Unfinished Business: Quentin Tarantinos »Kill Bill« und die offenen Rechnungen der Kulturwissenschaften. Bielefeld: transcript Verlag, 2006.

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5

Tarantino, Quentin. Uma Thurman is going to kill Bill: [screenplay]. [S.l.]: [s.n], 2002.

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From Shane to Kill Bill: Rethinking the Western. Malden, MA: Blackwell Pub., 2007.

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Femmine folli: Il lato oscuro del femminile dalla Bibbia a Kill Bill. Roma: Castelvecchi, 2009.

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Gaul, Winfred. Winfred Gaul: Unterwegs zum Bild : Fragmente, Skizzen, Experimente. Bönen/Westfalen [Germany]: Kettler Kunst, 2003.

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Albrecht, Uwe. Stadtarchäologie in Kiel: Ausgrabungen nach 1945 in Wort und Bild. Neumünster: Wachholz, 1996.

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Tarantino, Quentin. Kill Bill. Grand Central Publishing, 2025.

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Book chapters on the topic "Kill Bill"

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Scott, Jill. "Anger without Emotion: Revenge from the Iliad to Kill Bill." In A Poetics of Forgiveness, 25–43. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230106246_2.

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Walters, James. "Style and Sincerity in Quentin Tarantino’s Kill Bill Vol. 2 (2004)." In Film Moments, 19–22. London: British Film Institute, 2010. http://dx.doi.org/10.1007/978-1-349-92455-4_5.

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"Kill Bill: Vol. 1 (2003)." In Quentin Tarantino, 79–91. Wilhelm Fink Verlag, 2016. http://dx.doi.org/10.30965/9783846760697_008.

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"Kill Bill: Vol. 2 (2004)." In Quentin Tarantino, 93–106. Wilhelm Fink Verlag, 2016. http://dx.doi.org/10.30965/9783846760697_009.

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"Kill Bill: Vol. 1 (2003)." In Quentin Tarantino, 79–91. Brill | Fink, 2013. http://dx.doi.org/10.30965/9783846767023_008.

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"Kill Bill: Vol. 2 (2004)." In Quentin Tarantino, 93–106. Brill | Fink, 2013. http://dx.doi.org/10.30965/9783846767023_009.

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"Chapter 3. Kill Bill: Vol. 1, Kill Bill: Vol. 2, and Death Proof." In Race on the QT, 67–92. University of Texas Press, 2015. http://dx.doi.org/10.7560/768147-005.

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"Revenge and Madness in Kill Bill." In What is the Problem with Revenge, 145–50. BRILL, 2013. http://dx.doi.org/10.1163/9781848881648_015.

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"Niche cinema, or, Kill Bill with Shaolin Soccer." In Hong Kong Film, Hollywood and New Global Cinema, 233–46. Routledge, 2007. http://dx.doi.org/10.4324/9780203967362-25.

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"Bad Women in Action: Kill Bill in Warsaw." In Transgressive Womanhood: Investigating Vamps, Witches, Whores, Serial Killers and Monsters, 129–37. BRILL, 2014. http://dx.doi.org/10.1163/9781848882836_014.

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Conference papers on the topic "Kill Bill"

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Fenton, J. W., J. I. Witting, and T. M. Miller. "THROMBIN KINETIC PARAMETERS WITH TRIPEPTIDE p-NITROANALIDES UNDER PHYSIOLOGICALLY RELEVANT CONDITIONS." In XIth International Congress on Thrombosis and Haemostasis. Schattauer GmbH, 1987. http://dx.doi.org/10.1055/s-0038-1643278.

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The Michaelis-Menten (Km ), catalytic (kcat ), and specificity (kcat/Km ) constants were determined for humSft α- and β-thrombins with the chromogenic substrate S-2238 (H-D-Phe-Pip-Arg-pNA), Chromozym-TH (Tos-Gly-Pro-Arg-pNA), and Spectrozyme-TH (H-D-HHT-Ala-Arg-pNA) in 0.15 M NaCl buffered with 10 mM HEPES ancTlO mM Tris-HCT at pH 7.4, 37°C. Spontaneous hydrolysis was insignificant for these substrates. Both S-2238 and Spectrozyme-TH exhibited limiting solubilities at ∼35 μM, while Chromozym-TH did not do so up to 50 μM. From initial estimates, Km's and k t's were refined by computer Gause-Newton iterations or nonlinearneast-square fits for the concentration of p-nitroanalide formed per second versus the initial substrate concentration. No major differences were found between a-thrombin (99% α, 91% esterolytically active enzyme, and > 3,500 kilo-U.S. clotting units/g with fibrinogen) and Yγ-thrombin (98% γ. 89% active enzyme, and < 10 kilo-units/g). For α- versus γ-thrombin and the three substrates, respectively, the Km 's were 6.75 ± 0.13 vs 7.62 ± 0.30, 18.4 ± 0.4 vs 23.0 ± 0.3, and 2.53 ± 0.02 vs 3.85 ± 0.51 μM; the kcat> s were 125 ± 1 vs 134 ± 2, 181 ± 2 vs 130 ± 1, and 35.5 ± 0.2 vs 52.4 ± 2.0 s−1 ; and the kcat/Km 's were 18.5 vs 17.6, 9.84 vs 5.65, and 10.1 vs 13.6 s−1 μm . These values closely approximate those of 7.2 ± 0.9 μM, 84 ± 4 s−1 , and 11.7 s−1 μM−1 determined by Higgins, Lewis, and Shafer (J. Biol. Chem. 258:9276-9282, 1983) for the Aα cleavage of human fibrinogen by human α-thrombin under physiologically relevant conditions. Thus, these chromogenic substrates have thrombin specificities similar to that of fibrinogen, although their amidolytic activities are independent of additional active-site regions required for fibrinogen clotting activity (α vs γ-thrombin). Fibrinogen interactions with such active-site regions might account for why the fibrinogen Aa site is an atypical thrombin susceptible bond and the high species variability of fibrinopeptides. (Supported in part by NIH grant HL-13160).
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