Relevant bibliographies by topics / Quentin Tarantino

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

Academic literature on the topic 'Quentin Tarantino'

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

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Journal articles on the topic "Quentin Tarantino"

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Sáez-González, Jesús Miguel. "Malditos bastardos (Quentin Tarantino)." Vivat Academia, no. 109 (December 15, 2009): 81. http://dx.doi.org/10.15178/va.2009.109.81-82.

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Murray, Terri M. "Quentin Tarantino: Sadist or Sage?" Journal of Social Philosophy 29, no. 2 (September 1998): 109–25. http://dx.doi.org/10.1111/j.1467-9833.1998.tb00111.x.

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Figueiró, Belisa. "Django Livre e o Western: Uma aproximação com a teoria de André Bazin." Sessões do Imaginário 22, no. 37 (September 10, 2017): 41. http://dx.doi.org/10.15448/1980-3710.2017.1.22614.

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Este trabalho apresenta a teoria do autor francês André Bazin sobre o western e suas diversas ramificações e alterações ao longo das últimas décadas, com especial aplicação na análise do filme Django Livre (Django Unchained, Quentin Tarantino, 2012), do diretor norte-americano Quentin Tarantino. Após tantas transformações e readaptações dos filmes ao gênero, será que Bazin legitimaria esta obra cinematográfica dentro dos cânones de pureza propostos por ele?
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Watson, David. "Django Unchained: Directed by Quentin Tarantino." British Journal of General Practice 63, no. 608 (March 2013): 153.2–153. http://dx.doi.org/10.3399/bjgp13x664379.

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Bertelsen, Eve. "“Serious Gourmet Shit”: Quentin Tarantino’ sPulp Fiction." Journal of Literary Studies 15, no. 1-2 (June 1999): 8–32. http://dx.doi.org/10.1080/02564719908530214.

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Sammells, Neil. "Pulp fictions: Oscar Wilde and Quentin Tarantino." Irish Studies Review 3, no. 11 (June 1995): 39–46. http://dx.doi.org/10.1080/09670889508455492.

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Rennett, Michael. "Quentin Tarantino and the Director as DJ." Journal of Popular Culture 45, no. 2 (March 28, 2012): 391–409. http://dx.doi.org/10.1111/j.1540-5931.2011.00918.x.

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Selvaggi, Caterina. "Pulp Fiction. Il cinema postmoderno di Quentin Tarantino." PSICOBIETTIVO, no. 1 (March 2012): 151–72. http://dx.doi.org/10.3280/psob2012-001011.

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L'Autore analizza "Pulp Fiction" di Tarantino (1994) che č il cineasta piů significativo del gusto post-moderno; la relazione sistemica č protagonista del film e di altri dello stesso autore ed evidenzia come il singolo personaggio non abbia né coerenza né consistenza come individuo a se stante. Lo stile postmoderno č una delle forme culturali piů proprie della cosiddetta "globalizzazione", cioč delle progressiva interdipendenza dei sistemi nel pianeta. Il film racconta 5 storie intrecciate, mettendo in crisi l'ordine causale lineare a favore di una concezione di causalitŕ circolare espressa anche dalla regia stessa. Significativo č anche il gusto della citazione di altri testi e film di culture ed epoche diverse, proprio del postmoderno, e la mescolanza dei vari generi, dal thriller al western al musical ai cartoons" Ma questo gioco di citazioni per Tarantino esprime la condizione di intellegibilitŕ psicologica e culturale di un sistema ormai globale.
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Dimoulis, Dimitri, and Soraya Gasparetto Lunardi. "Críticas do direito e dos direitos de liberdade nos filmes de Quentin Tarantino." Revista de Direitos Humanos e Desenvolvimentos Social 1 (December 22, 2020): 1. http://dx.doi.org/10.24220/2675-9160v1e2020a5213.

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O presente artigo analisa as críticas do direito e dos direitos de liberdade que podem ser encontradas nos filmes de Quentin Tarantino, em particular no filme Hateful Eight. Nas narrativas de Tarantino reflete-se constantemente sobre o direito de portar armas, previsto na 2ª. Emenda da Constituição dos Estados Unidos, e o significado dos direitos de liberdade, incluindo o “direito” de vingança. O texto questiona as funções do direito e do Estado, mostrando suas contradições, especialmente a (impossível) delimitação entre violência legítima e ilegítima. Reflete-se também sobre o papel do direito e do Estado na busca de estabelecer a unidade nacional sem abolir as desigualdades sociais e a opressão de minorias. O Estado de Direito e de direitos parece ser, para Tarantino, uma ordem imposta com armas e sangue.
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SALMAN, Semih. "Postmodern Sinemada Anti Kahraman: Quentin Tarantino Filmlerinin Analizi." İnsan ve Toplum Bilimleri Araştırmaları Dergisi 9, no. 3 (September 30, 2020): 2881–904. http://dx.doi.org/10.15869/itobiad.736540.

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Dissertations / Theses on the topic "Quentin Tarantino"

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Levitskiy, M. V. "Quentin Tarantino." Thesis, Sumy State University, 2015. http://essuir.sumdu.edu.ua/handle/123456789/40467.

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Quentin Jerome Tarantino (born March 27, 1963) is an American film director, screenwriter, cinematographer, producer, and actor. Tarantino grew up an obsessed film fan and worked at Video Archives, a video rental store while training to act. Tarantino is a shining example of self-education, he never studied at universities or academies of directory and actor arts, all that he learned he learned on examples of the great films and on amateur courses.
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Blake, Eric Michael. "Genre, Justice & Quentin Tarantino." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5911.

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The films of Quentin Tarantino have held a significant influence on modern cinema, and therefore on cinema studies. As such, studies on the social and philosophical implications of his work have appeared over the years, mostly in regards to content. However, with the exception of references to his use of cinematic violence, studies of his technique—i.e., his cinematic style—have been rare, and rarer still have been studies of the social implications that arise from the patterns of his style as well as those his subject matter. The following thesis seeks to use the concept of Auteur Theory—specifically, that Tarantino is the primary artist of the films directed by him—to propose that a specific artistic style conveys a specific worldview: namely, that the artistic choices made by the director, in content and technique, can and do convey a viewpoint regarding “real life” and the world. Specifically, this work will culminate in analyzing and determining tenants to be gleaned from the Tarantino canon regarding issues of justice, both on an individual and societal basis. With his focus on crime—again, both societal and individual—Tarantino makes commentary on societal breakdown; the audience’s emotional support (or lack thereof) for characters and their actions corresponds with identification, and therefore draws real-life parallels. Such refers to the concept of “Realism”, which will be discussed in detail. Further, Tarantino’s trend of recycling elements from prior films refers to artistic “Postmodernism”—use of “pastiche” and sampling to create a “new” work. The thesis will analyze the value and meaning of the major samplings in Tarantino’s films—particularly in regards to genre--and concludes that, far from a simple conglomeration, a Tarantino “Genre-Blender” forms a cohesive whole, oriented towards specific impact of the audience. From the above two issues of Realism and Postmodernism in art, and establishing the existence of a cohesive artistic vision in Tarantino’s work, this thesis identifies patterns in such that identify specific viewpoints on questions of “Good”, “Evil”, and “Justice”. Key to this is the dichotomy between objective principles and subjectivity in human interaction amid the applications of principles. Tarantino’s work conveys a belief in certain objective tenants; however, the applications that arise through interaction cause complications, arising through human limitations in perspective. The ultimate purpose of this study is to link studies of social implications of film to not merely content, but in choices in cinematic style. It is a contribution at once to studies of film and to studies of artistic theory (in particular Realism and Postmodernism), using both to analyze how a specific, popular, mainstream artist reflects a worldview through the sensibilities that are channeled in creating his works.
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Santos, Fabrício Cordeiro dos. "A cinefilia no cinema de Quentin Tarantino." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/3115.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Cinephilia founds its place during the 1950s from the Heirs of Bazinian critical approach. The interest of young cinephiles as François Truffaut and Jean-Luc Godard in living a life around movies ended up in the creation of a new culture, which led to a special study of cinema, a policy of legitimizing movies and auteurs and a closer look at the mise en scène. Moreover, the importance of collective view and sociability to the flourishing cinephile, just like the presence of a certain fetish and practices and habits around the theater. Based on the concepts of cinephilia and its historical overview presented by the critic and researcher Antoine de Baecque, this work has as one of its objectives to look for distinctions between what is meant by cinephile for over fifty years and what is meant by cinephile today. Nowadays, media and communication amplify and make even more complex the relationship of the viewer with images, now subjected to a whole range of devices which are perfect for the mastery of the spectacle. Now films have to compete with the “all-image”, a term used by the media in the 1970s. Secondly, this work observes, through filmic analysis, manifestations of cinephilia in Quentin Tarantino’s last films, as well as its relationship with the “all-image”.
A cinefilia encontrou seu lugar no cinema a partir dos anos 1950. Herdeiros do olhar crítico baziniano, o interesse de jovens como François Truffaut e Jean-Luc Godard em se entregar a uma vida em torno dos filmes acabou por plantar uma nova cultura. Desenvolveu-se uma erudição própria do cinema, uma política de legitimação de filmes e autores, um olhar atento para a mise en scène, além de um certo fetiche e práticas e hábitos em torno da sala de cinema, do ver coletivo, a sociabilidade tão importante para o florescimento cinéfilo. Partindo dos conceitos de cinefilia e de seu apanhado histórico apresentado pelo crítico e pesquisador Antoine de Baecque, este trabalho tem como um de seus objetivos apontar distinções entre o que se entendia por cinéfilo há mais de cinquenta anos e o que se entende por cinéfilo hoje, tempo em que a mídia e a comunicação ampliam e problematizam a relação do espectador com as imagens, agora submetidas a todo um conjunto de aparatos ideal para a manifestação e domínio do espetáculo, fazendo com que o cinema dispute lugar com o que as mídias setentistas passaram a se referir como “tudo-imagem”. Num segundo momento, pretende observar, por meio da análise fílmica, as manifestações da(s) cinefilia(s) no cinema de Quentin Tarantino, cineasta autoral contemporâneo, assim como sua relação com o “tudoimagem”.
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Soares, Sergio J. Puccini. "Cães de aluguel : analise de um roteiro de Quentin Tarantino." [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285075.

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Orientador: Fernão Vitor Pessoa A. Ramos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O texto da dissertação apresenta uma análise do roteiro Cães de Aluguel, escrito pelo cineasta norte-americano Quentin Tarantino. Esta análise privilegia um enfoque relacionado à estrutura narrativa articulada pelo roteiro, que subverte a ordem linear da apresentação dos fatos da história. Ao fazer isso, o roteirista, ao mesmo tempo em que redimensiona o sentido de cenas que não encontrariam espaço se a evolução da história se desse de forma linear, garante a dinâmica exigida pelo gênero ao qual o roteiro se inscreve, sem abrir mão da inclinação verborrágica que caracteriza seu trabalho. Obs. Todas as traduções aqui apresentadas foram feitas pelo autor. As traduções dos trechos do roteiro se encontram ao final de cada capítulo, acompanhando nota correspondente à referência bibliográfica
Abstract: No informed.
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Barthel, Korinna. "Das Quentchen Gewalt heisse und kalte Gewalt in den Filmen Quentin Tarantinos." Marburg Tectum-Verl, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2660070&prov=M&dok_var=1&dok_ext=htm.

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Magnani, Matthew Daniel. "Martin Scorsese, Quentin Tarantino, and the Crime Films of the Nineteen Nineties." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278623/.

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Martin Scorsese's films, GOODFELLAS and CASINO, and Quentin Tarantino's RESERVOIR DOGS and PULP FICTION are examined to determine if the crime film of the 1990s has become increasingly more in the style of film noir. The differences and similarities between the two crime films each director has either written or co-written in the 1990s are delineated to demonstrate this trend. Other crime films of the latter 1990s (SEVEN, THE USUAL SUSPECTS, and MULHOLLAND FALLS) are also examined to aid in defining the latest incarnation of the crime film as "Noir Modernist," a term that is demonstrated to be a more accurate description for the current crime films than B. Ruby Rich's, "Neo-Noir of the 1990s."
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Hillerbrand, Rune Adam. "Oförutsägbar fiktion : Narratologiska brott och kontraster i Quentin Tarantinos Pulp Fiction." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-154873.

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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 cine Quentin Tarantino es un gran expositor de esta temática en el cine contemporáneo; sus tramas siempre dan lugar a conflictos físicos entre sus personajes que conllevan a un espectáculo de sangre y muerte con un tratamiento audiovisual característico que requiere el dominio y la planificación de diversas áreas en la realización cinematográfica. Esta investigación se ha formulado para analizar estas áreas desde la perspectiva estética; es decir, desde la dirección de fotografía y la dirección de arte, con el apoyo del sonido y del montaje para determinar que cada aspecto elaborado desde cada área audiovisual crea en conjunto una representación estetizada de la violencia en las dos películas mencionadas; es decir, la violencia, cultural y convencionalmente “fea”, pasa a ser audiovisual y sensorialmente atractiva.
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Soler, Pardo Betlem. "Swearing and Translation: A Study of the insults in the filims of Quentin Tarantino." Doctoral thesis, Universitat de València, 2011. http://hdl.handle.net/10803/81396.

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This thesis analyses the insults in Quentin Tarantino’s films and their translation into Spanish. The insults in Tarantino’s films can be considered very interesting from a social point of view as I have gradually developed during this research. First, I have highlighted the possible problems when translating insults into Spanish. Secondly, I have provided the reader with specific examples in English of the insults collected from the seven films I have analysed [Reservoir Dogs, Pulp Fiction, Four Rooms, Jackie Brown, Kill Bill vol. I and II, Death Proof and Inglorious Basterds]. Finally, my intention was to demonstrate that the level of swearing in Spanish was inferior by showing the translation of these insults in Spanish as they appeared in the films. Then, I divided my work into two sections, the first one being theoretical: Quentin Tarantino (chapter 1); Characterization of Swearwords (chapter 2); and Translation Studies: The Singularity of Audiovisual Translation (chapter 3), where I have presented the theory to support the conclusions drawn in the second part; and the second one practical: Description and Methodology (chapter 4); and Analysis and Results (chapter 5). I have divided chapter 5 into two (sub) sections. In the first one, “Analysis of the Insults in Quentin Tarantino: An Initial Typology”, I have presented the insults culled in seven of Tarantino’s films and have classified them into twelve categories: (1) sex related; (2) excrement and human waste; (3) body parts; (4) religious; (5) incest; (6) prostitution; (7) racist; (8) cross-categorized; (9) physically or mentally disabled; (10) bodily functions ; (11) animal related; and (12) homophobic insults. In the second sub-section, ‘Case Study: Sex-Related Insults in Quentin Tarantino and Their Translation into Spanish’, I have focused on the sex-related insults and more specifically, on the most frequently repeated expletive, f-word and its morphological variants, alongside its translation into Spanish. This second part of my study, thus, will illustrate the results obtained during my research. Regarding methodology, I first culled all insults found in the original version of the seven films of Tarantino I have based my data on [Reservoir Dogs, Pulp Fiction, Four Rooms, Jackie Brown, Kill Bill vol. I and II, Death Proof and Inglorious Basterds], briefly mentioning four of the most critically acclaimed films within which he has had an important input on, but not directed: True Romance, Natural Born Killers, From Dusk Till Dawn and Sin City; secondly, I selected the ones which appeared more frequently, the sex-related ones, and have compared them with the sex-related insults in the Spanish dubbed versions. It is important to mention that I encountered 1526 examples of bad words in Tarantino’s work, which I organized in 1117 tables. In order to complete my work, I dealt with issues such as taboo behaviour and obscenity, which include sex, death, bodily functions, specific emotions, racism, and religion. Then, I introduced the concept of swearing, and explored possible causes for it: social, linguistic, and psychological reasons. I have dealt with questions related to the discipline of translation studies, and the problems with the translation of swearwords in films in order to apply it to Tarantino’s work. From a linguistic perspective the defining characteristic of Tarantino’s films is his ability to introduce bawdy language in every film bypassing American censorship. Therefore, I felt that it would be important to discover whether this phenomenon also takes place in the Spanish translation, or whether censorship and self-censorship would be applied following the government’s regulations of bygone eras whose influence might, nevertheless, still be felt implicitly or explicitly in the present.
Quentin Tarantino, representante del cine moderno independiente, se hizo popular con su opera prima, Reservoir Dogs, estrenada por primera vez en 1992. Dos años más tarde, obtuvo la Palme D’Or en el Festival de Cannes con su segunda película, Pulp Fiction. Después de tres años de ausencia, dirigió una de las cuatros historias de Four Rooms, film dirigido junto con Allison Anders, Alexandre Rockwell y Robert Rodríguez. En 1997, Tarantino realizó un film basado en la novela de Elmore Leonard (Rum Punch, 1992), llamado Jackie Brown. Durante 2003 y 2004, el director norteamericano estrenó los dos volúmenes de Kill Bill (I y II). En el año 2007, estrenaba Grindhouse: Death Proof y, finalmente, en el 2009 Tarantino presentó la que es su última película en el Festival de Cannes, Malditos bastardos. De estas siete películas se deriva el corpus sobre el cual he basado mi trabajo: un análisis de los insultos que aparecen en los siete filmes dirigidos por el cineasta norteamericano, Quentin Tarantino, y cómo estos insultos han sido traducidos (doblados) del inglés al español prestando especial atención a aquellos que más se repiten: los insultos sexuales. La conexión entre Tarantino y los insultos se establece desde que el cineasta estrenara su primera obra, ya que introdujo un número bastante significativo de lenguaje soez y no ha cesado de hacerlo desde que emprendiera su carrera cinematográfica. Como resultado, ha hecho de su manera de trabajar un campo peculiar y extremadamente interesante desde el punto de vista académico.
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Rosén, Rebecca. "Quentin Tarantino och kärleken till blaxploitation : - en jämförande analys av representationen av svarta kvinnor." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-53624.

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Följande uppsats kommer att fokusera på relationen mellan Quentin Tarantino och blaxploitation, och syftet med uppsatsen är att undersöka huruvida Tarantino väljer att representera sina svarta kvinnliga huvudkaraktärer annorlunda i sina blaxploitation-influerade filmer Jackie Brown (1997) och Django Unchained (2012) i jämförelse med representationen av svarta kvinnliga huvudkaraktärer i två av de mest kända blaxploitationfilmerna från 1970-talet, Coffy (1973) och Foxy Brown (1974). Den grundläggande teorin för uppsatsen är den feministiska filmteorin, men andra texter som berör representationen av kvinnor och specifikt svarta kvinnor på film är lika väsentliga. Mitt tillvägagångssätt för att besvara uppsatsens frågeställningar är att genom närläsning av de utvalda filmerna samt deras respektive kvinnliga karaktärer, med understöd av relevant litteratur och teorier, göra en jämförande analys. Slutresultatet visar att Tarantino i och med filmen Jackie Brown lyckas utveckla den svarta och starka kvinnliga karaktären från blaxploitation dock utan att föra vidare undergenrens problematiska sexualisering av kvinnokroppen. Däremot lyckas han inte lika bra i samband med Django Unchained, där den kvinnliga, ofta hjälplösa, huvudkaraktären främst visas som antingen någonting vackert eller någon som plågas för andras njutning.
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Books on the topic "Quentin Tarantino"

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Quentin Tarantino. Harlow, England: Pearson Longman, 2006.

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Laffey, Erinna. Quentin Tarantino. London: British Film Institute Library and Information Services, 1996.

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Peter, Körte, and Seesslen Georg, eds. Quentin Tarantino. 4th ed. Berlin: Bertz + Fischer, 2004.

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Fischer, Robert. Quentin Tarantino. 3rd ed. Berlin: Bertz, 2000.

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Tarantino, Quentin. Quentin Tarantino: Interviews. Jackson: University Press of Mississippi, 1998.

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Brancati, Simona. Kill Tarantino: Quentin Tarantino : istruzioni per l'uso. Roma: P. Tangerine, 2004.

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Quentin Tarantino: Pulp fiction. Torino: Lindau, 2008.

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Quentin Tarantino--: --fils de pulp. Paris: Fleuve noir, 1998.

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Terribili, Daniela. Quentin Tarantino: Il cinema "degenere". Roma: Bulzoni, 1999.

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Pagello, Federico. Quentin Tarantino and Film Theory. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-43819-7.

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Book chapters on the topic "Quentin Tarantino"

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Boswell, Matthew. "Inglourious Basterds (Quentin Tarantino)." In Holocaust Impiety in Literature, Popular Music and Film, 173–84. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230358690_11.

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Pagello, Federico. "Introduction." In Quentin Tarantino and Film Theory, 1–30. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-43819-7_1.

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Pagello, Federico. "Beyond Postmodernism." In Quentin Tarantino and Film Theory, 31–64. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-43819-7_2.

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Pagello, Federico. "Space, Time and Dialectics." In Quentin Tarantino and Film Theory, 65–126. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-43819-7_3.

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Pagello, Federico. "Subjectivity and Dialectics." In Quentin Tarantino and Film Theory, 127–64. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-43819-7_4.

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Pagello, Federico. "Spectatorship, Genre and Violence." In Quentin Tarantino and Film Theory, 165–206. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-43819-7_5.

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Kennedy-Karpat, Colleen. "Trash Cinema and Oscar Gold: Quentin Tarantino, Intertextuality, and Industry Prestige." In Adaptation, Awards Culture, and the Value of Prestige, 173–91. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-52854-0_10.

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Fink, Moritz. "An Eyepatch of Courage: Battle-Scarred Amazon Warriors in the Movies of Robert Rodriguez and Quentin Tarantino." In Transnational Horror Cinema, 133–58. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-58417-5_7.

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Virvidaki, Katerina. "The Digressive: Quentin Tarantino’s Pulp Fiction." In Testing Coherence in Narrative Film, 147–80. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-62196-8_6.

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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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