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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. RamosDissertação (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.
Mestrado
Mestre em Multimeios
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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.
Full textAbstract:
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.Tesis
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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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Huillet, Marie-Pierre. "Masculinités et féminités dans le cinéma de Quentin Tarantino : analyses filmiques et études de réception." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20066/document.
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S'il est bien un espace « à travers quoi les sociétés se parlent » (N. Burch, G. Sellier, 2009 : 22), c'est bien celui du cinéma. Ce média est une activité sociale, culturellement spécifique et éminemment « constructiviste » (M. Coulomb-Gully, 2011 : 10), notamment en terme de construction de Genre. La filmographie de Quentin Tarantino qui couvre plus de vingt ans de cinéma international, nous a semblé poser avec acuité la question du Genre. Nous nous sommes donc proposée, dans un premier temps de notre travail de recherche, d'analyser les sept premiers longs métrages du réalisateur américain afin d'apporter une réponse à notre premier axe de problématique : quelles représentations des féminités et des masculinités et de quel clivage entre féminités et masculinités le cinéma de Quentin Tarantino fait-il état pour nous ? Mais attendu qu'aller voir un film est un acte au cours duquel « une conscience s'approprie une autre conscience selon des modalités très personnelles » (A. Brochu, 2004 : 16), nous avons voulu mettre en tension notre propre lecture de ce cinéma avec celles d'autres spectateurs et spectatrices afin de répondre à la seconde partie de notre problématique : que voient les spectateurs et spectatrices de ces films des féminités et des masculinités dans ce cinéma ? Pour ce faire, nous avons procédé à des entretiens compréhensifs auprès de huit spectateurs et spectatrices. Nous avons ensuite analysé le matériau discursif recueilli à partir duquel nous avons dressé des portraits. Ces derniers nous ont permis d'éprouver combien « ce sont, in fine, les spectateurs qui donnent sens au film » (G. Sellier ; 2009 : 10). L'analyse transversale de ces discours nous a permis de questionner les corps, le sexe et les sexualités, les dominations, le Genre dans le processus de réception mais également le contexte sexué de l'enquêteIf there is indeed an area “through which societies communicate” (N. Burgh, G.Sellier, 2009 : 22), this is definitely the one of cinema. This media is a social activity that is culturally specific and strongly “constructivist” (M. Coulomb-Gully, 2011 : 10) particularly when one talks about Gender Construction. Quentin Tarantino’s filmography which covers more than twenty years of international cinema seemed to be relevant to ask ourselves the question of gender with acuteness. So as a first step of our research work, we attempted to analyze the first seven full-length feature films of this American director in order to bring an answer to our first line of research of the general problematics: which representations of femininities and masculinities and which split between femininities and masculinities do Quentin Tarantino’s movies state for us?Still, if we consider that going to the movies is an act during which “a consciousness takes another consciousness over according to very personal means” (A.Brochu, 2004 : 16), we decided to confront our own interpretation of Tarantino’s movies with other male or female moviegoers for the purpose of answering the second part of our problematics : what do male and female moviegoers see of the femininities and masculinities present in these films? To that end, we carried out comprehensive one-to-one interviews of eight male and female moviegoers. Then, we collected and analyzed their speeches which helped us to produce their portraits. These latter enabled us to experience how much “the moviegoers are ultimately the ones who give sense to a movie” (G.Sellier; 2009 : 10).The cross-cutting analysis of these speeches allowed us to question bodies, sex and sexualities, dominations, gender through the reception process but also the gender-related context of this survey
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Gomes, Lenildo Monteiro. "Um prato que se come frio: a dimensÃo da violÃncia nos filmes de Quentin Tarantino." Universidade Federal do CearÃ, 2006. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=10809.
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FundaÃÃo de Amparo à Pesquisa do Estado do CearÃAlguns aspectos da sociedade contemporÃnea podem ser analisados a partir da leitura peculiar dimensionada no processo de produÃÃo artÃstica. Dessa forma a arte surge nesse contexto histÃrico influenciada pelo consumismo pela sociedade da comunicaÃÃo e pelos mass media, sendo relacionada ao esteticismo e à espetacularizaÃÃo, reconfigurando-a notadamente na produÃÃo voltada para a televisÃo e para o cinema. A arte à expressÃo da vida e objeto de anÃlise das relaÃÃes sociais e, seus pressupostos, remetem a problemÃtica da estÃtica. Nesse sentido a imagem à expressÃo para a compreensÃo dos fenÃmenos, notadamente no que diz respeito ao cinema e seu desenvolvimento ao longo da histÃria, sua linguagem, tÃcnica e estrutura narrativa. Os filmes de Quentin Tarantino redimensionam esteticamente a problemÃtica da violÃncia. Como arte industrial, referÃncia do sÃculo XX que difundiu estilo de vida e comportamento, o cinema desenvolveu linguagem e estrutura prÃprias, tendo no tratamento estÃtico e tÃcnico uma forma de composiÃÃo de sua narrativa. Os filmes analisados tÃm como caracterÃstica comum a sublimaÃÃo do ornamento e da alegoria mediante a explicitaÃÃo da violÃncia existente em algumas situaÃÃes dramÃticas.
Some aspects of contemporary society can be analyzed from the particular reading scaled in the process of artistic production . Thus the art arises in this historical context influenced by consumerism by society communication and the media , being related to aestheticism and spectacle , especially in reconfiguring the production for television and film . Art is expression of life and the object of analysis of social relations and their assumptions , refer the issue of aesthetics. In this sense the image is an expression to understand the phenomena , notably with regard to the film and its development throughout history , its language , technical and narrative structure . The films of Quentin Tarantino resize aesthetically problematic of violence. As industrial art , reference twentieth century who spread lifestyle and behavior , cinema developed its own language and structure , and the technical and aesthetic treatment a form of composition of his narrative . movies analyzed common feature sublimation ornament and allegory by explicit violence existing in some dramatic situations .
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GOMES, Lenildo Monteiro. "Um prato que se come frio: a dimensão da violência nos filmes de Quentin Tarantino." www.teses.ufc.br, 2006. http://www.repositorio.ufc.br/handle/riufc/7170.
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GOMES, Lenildo Monteiro. Um prato que se come frio: a dimensão da violência nos filmes de Quentin Tarantino. 2006. 204f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Sociologia, Fortaleza (CE), 2006.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-01-21T16:08:00Z No. of bitstreams: 1 2006-DIS-LMGOMES.pdf: 1842945 bytes, checksum: d82c432194142acc15f46716fdd99a2f (MD5)
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Some aspects of contemporary society can be analyzed from the particular reading scaled in the process of artistic production . Thus the art arises in this historical context influenced by consumerism by society communication and the media , being related to aestheticism and spectacle , especially in reconfiguring the production for television and film . Art is expression of life and the object of analysis of social relations and their assumptions , refer the issue of aesthetics. In this sense the image is an expression to understand the phenomena , notably with regard to the film and its development throughout history , its language , technical and narrative structure . The films of Quentin Tarantino resize aesthetically problematic of violence. As industrial art , reference twentieth century who spread lifestyle and behavior , cinema developed its own language and structure , and the technical and aesthetic treatment a form of composition of his narrative . movies analyzed common feature sublimation ornament and allegory by explicit violence existing in some dramatic situations .
Alguns aspectos da sociedade contemporânea podem ser analisados a partir da leitura peculiar dimensionada no processo de produção artística. Dessa forma a arte surge nesse contexto histórico influenciada pelo consumismo pela sociedade da comunicação e pelos mass media, sendo relacionada ao esteticismo e à espetacularização, reconfigurando-a notadamente na produção voltada para a televisão e para o cinema. A arte é expressão da vida e objeto de análise das relações sociais e, seus pressupostos, remetem a problemática da estética. Nesse sentido a imagem é expressão para a compreensão dos fenômenos, notadamente no que diz respeito ao cinema e seu desenvolvimento ao longo da história, sua linguagem, técnica e estrutura narrativa. Os filmes de Quentin Tarantino redimensionam esteticamente a problemática da violência. Como arte industrial, referência do século XX que difundiu estilo de vida e comportamento, o cinema desenvolveu linguagem e estrutura próprias, tendo no tratamento estético e técnico uma forma de composição de sua narrativa. Os filmes analisados têm como característica comum a sublimação do ornamento e da alegoria mediante a explicitação da violência existente em algumas situações dramáticas.
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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 de mise en fiction de la Shoah. Cependant, malgré les interdits ou peut-être en raison de ces interdits, les artistes, Prométhées des tempsmodernes, transgressifs et libres par essence se sont emparés de ce sujet qui est devenu incontournable. Pas une année ne passe sans qu’une oeuvreayant pour thème la Shoah ne voie le jour. Toutes ne sont pas dignes d’intérêt, certaines se servent même de l’engouement du public pour la période dela Seconde Guerre mondiale afin de donner de la profondeur à leur oeuvre qui en manque cruellement. Mais certaines apportent un éclairage nouveau,instillent une pensée originale et édifiante en évitant la pierre d’achoppement que constitue l’indécence, c’est le cas des oeuvres que nous avons choisid’étudier. Comme le dit Yosef Yerushalmi : « L’Holocauste a déjà suscité plus de recherches historiques que tout autre événement de l’histoire juive,mais je ne doute pas que l’image qui s’en dégage, loin d’être forgée sur l’enclume de l’historien, soit fondue dans le creuset du romancier ». C’est cecreuset que nous souhaitons explorer à travers notre analyse comparée de La Danse de Gengis Cohn de Romain Gary, d’Inglourious basterds deQuentin Tarantino et de The Passsenger de Mieczyslaw Weinberg. Cette étude a pour ambition de mettre en lumière le glissement progressif du réelvers la fiction que les artistes mettent en place dans leurs oeuvres et de l'analyser afin d’en révéler les enjeux. Puis de relever les artifices fictionnelsutilisés par les artistes comme des révélateurs et de souligner leurs apports au thème de la Shoah, et enfin de contempler la toute-puissance de l’art qui,le temps de son avènement, acquiert une liberté absolue, pouvoir tel qu’il lui permet de faire émerger des personnages d’outre-tombe, d’assignersymboliquement à comparaître ceux qui s’en sont tirés à bon compte et finalement de mettre à mort Hitler et tout ce qu’il représente, le temps de lafiction. Si ces entreprises audacieuses sont jubilatoires, elles ne sont pas moins révélatrices. En effet, elles soulignent, en négatif, notre impuissanceface à l’horreur du réel . Car comme le dit Laurent Binet dans HhhH : L’Histoire est la seule véritable fatalité : « on peut la relire dans tous les sens,mais on ne peut pas la réécrire »"Only those who knew Auschwitz know what it was. Others will never know it. " This truth proclaimed by Elie Wiesel summarizes the impossibility of representing to oneself what the victims of Nazism, whether Jewish, Gypsy, homosexual or political opponents, endured. Indeed, if we can not imagine their tribulations how can we imagine representing them? This question was the one that presided over the emergence of the concept of irrepresentability, defended notably by Claude Lanzmann, a concept that soon became an injunction that condemned any undertaking of fictionalizing the Holocaust. However, despite the forbidden or perhaps because of these prohibitions, artists, Prometheus of modern times, basically transgressive and free have seized this subject that has become unavoidable. Not a year goes by without a Holocaust-themed work being produced. All are not worthwhile, some even use the infatuation of the public for the period of the Second World War to give depth to their work that is sorely lacking. But some bring a new light, instill an original and uplifting thought while avoiding the stumbling block that constitutes the indecency, it is the case of the works which we chose to study. As Yosef Yerushalmi puts it: "The Holocaust has already attracted more historical research than any other event in Jewish history, but I have no doubt that the image that emerges from it, far from being forged on the an anvil of the historian, be melted in the crucible of the novelist ". It is this crucible that we wish to explore through our comparative analysis of Romain Gary's Genghis Cohn's Dance, Quentin Tarantino's Inglourious basterds and Mieczyslaw Weinberg's The Passsenger. This study aims to highlight the progressive shift of the real to the fiction that artists put in place in their works and analyze it to reveal the issues. Then to highlight the fictional artifices used by artists as revelators and to emphasize their contributions to the theme of the Holocaust, and finally to contemplate the omnipotence of art which, at the time of its advent, acquires absolute freedom, power as it allows him to bring out characters from beyond the grave, to symbolically summon those who have escaped and to put to death Hitler and all that he represents, the time of fiction. If these daring ventures are jubilant, they are no less revealing. Indeed, they emphasize, in negative, our helplessness in the face of the horror of reality. Because as Laurent Binet says in HhhH: " History is the only real fatality : it can be re-read in all directions, but we can not rewrite it. "
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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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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 genre. The protagonists, the clandestine military force known as the "Basterds," which attacks German troops using guerrilla warfare tactics, help make this victory possible. Aldo, their leader, encourages his men to brutalize the Nazis they come in contact with, and Aldo shows the way by carving swastikas in the foreheads of Nazis he allows to live. Tarantino creates an aesthetic surrounding his violence in an attempt to create a paradigm in which murder is imagined to be morally acceptable. Yet the film also supports this paradigm by setting the Nazi up in much the same way cinema uses the zombie, as a killable being, a blank body on which violence can be justifiably enacted. As a blank body, cultural imagination can also be inscribed on the Nazi, using them as a meditation on Jewish revenge fantasy and a fantasy of American revenge against terrorists. In the end, the Basterds become more like Nazi villains than heroes due to their participation in Nazi-like violence. The audience, as well, faces the problem of becoming like Nazis by viewing the film.
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Paulsson, Tim. "En studie av Quentin Tarantinos karaktärsskapande : Analys av karaktärerna O-ren Ishii, Hans Landa och Calvin Candie." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-85523.
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Quentin Tarantino är välkänd för att skriva bra dialog och lyfts ofta fram som skicklig på att skapa intressanta karaktärer. I denna studie analyseras tre av hans karaktärer O-Ren Ishii (Lucy Liu) från Kill Bill: Vol. 1 (2003), Hans Landa (Christoph Waltz) från Inglourious Basterds (2009) och Calvin Candie (Leonardo DiCaprio) från Django Unchained (2012). Målet med studien är förankra karaktärsteorin i konkreta exempel på karaktärer som är skapade av Tarantino, samt att bidra med kunskap om hur man skapar välgjorda karaktärer. Målet uppnås genom att svara på två frågeställningar: 1) Hur är karaktärerna O-Ren Ishii, Hans Landa och Calvin Candie uppbyggda? 2) Finns det ett mönster i hur Tarantino har skapat dessa tre karaktärer? För att kunna svara på frågeställningarna analyseras de tre karaktärerna utifrån karaktärsteori baserat på den information som kan erhållas i filmerna Kill Bill: Vol. 1, Inglourious Basterds och Django Unchained, filmmanuskripten till de tre filmerna och intervjuer med Quentin Tarantino. Studien visar att alla de tre karaktärerna är oförutsägbara och har en stor spridning av motstridiga egenskaper. Istället för att bygga på identifikation, empati eller sympati, bygger karaktärerna på att skapa spänning och att hålla publiken kognitivt aktiv.
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Lippel, Luiz Felipe Rosa. "A mise en scène de Quentin Tarantino : um jogo de atração e distração na construção da encenação em profundidade de campo /." Bauru, 2018. http://hdl.handle.net/11449/157388.
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Orientador: Arlindo Rebechi JúniorBanca: Marcelo Magalhães Bulhões
Banca: Mauro Alejandro Baptista y Vedia Sarubbo
Orientador: Arlindo Rebechi Junior
Resumo: Com o propósito de analisar a estrutura da mise em scène e o ponto de vista do cinema de Quentin Tarantino, esta dissertação parte do pressuposto que Tarantino opera através de um amálgama de cinema de entretenimento e o cinema de autor. Com a quebra do ilusionismo e distanciamento Tarantino parece jogar com elementos de cena e efeitos de som e música para trabalhar um fluxo de atenção e distração em uma encenação com profundidade de campo. Esta dissertação tem como finalidade identificar os elementos que constituem o cinema de Tarantino, assim como reconhecer as técnicas utilizadas pelo diretor, suas referências e estilo. Compreende-se que Tarantino representa um diversificado cinema pós-moderno, com seus alicerces na tradição da encenação e na entidade do plano. Mesmo evocando elementos do melodrama ou do mainstream Tarantino trata de subvertê-lo, com a quebra do ilusionismo e profundidade de campo. O corpus desta pesquisa é composto pelos dois mais recentes filmes de Tarantino até o momento, Django Livre (2012) e Os Oito Odiados (2015). Estes objetos de estudo foram escolhidos por serem esteticamente similares visualmente, porém, contrastantes em suas respectivas construções narrativas e em ritmo, através da utilização da trilha sonora e da performance como agentes tensionadores da ação
Abstract: With the objective of analyzing the structure of the mise en scène and the cinematic point of view of Quentin Tarantino, this dissertation assumes that Tarantino operates through an amalgam of entertainment and author cinema. With a break from the cinematographic illusionism and detachment, Tarantino seems to play with the elements within the scene, also with songs, music and sound effects, to work with an attention and distraction flow in a staging with depth of field. This dissertation aims to define the elements that constitute the cinema of Tarantino, as well as to designate the techniques utilized by the director, his references and style. It is understood that Tarantino represents a diversified postmodern cinema, with its foundations in the tradition of staging and in the entity of the take. Even when evoking elements of the melodrama or of the mainstream, Tarantino tries to subvert them by breaking down the illusionism and through the works of depth of field. The corpus of this research is composed by two of the most recent films of Tarantino thus far, Django Unchained (2012) and The Hateful Eight (2015). These objects of study were chosen because of their visual similarity, and their contrasting narrative constructions and rhythm, exacerbated through the use of soundtrack and the actor's performance as tensioning agents of the plot
Mestre
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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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Miller, Richard. "L'imaginisation du réel: pour une politique des imaginaires singuliers :le combat du bien et la vengeance possible illustrés par la mythologie de saint Georges et le cinéma de Quentin Tarantino." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209981.
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Un corps humain n’est pas le réceptacle passif d’impressions. Il n’est condamné à aucun « réel » qui s’imposerait à lui. Tout au contraire crée-t-il, continûment et spontanément, des images singulières de la réalité. Cette faculté d’imaginisation est le sujet de la présente thèse, ainsi que la conséquence qui s’ensuit, pour chaque individu, de ne pouvoir que croire en une réalité toujours déjà imaginisée. L’imaginisation sera envisagée selon une double visée :en tant que faculté (laquelle produit des effets concrets, historisants), et en tant que qualité originelle de l’être humain.Poser que l’imaginisation est la qualité qui définit l’appartenance à l’humanité induit entre autres que la raison est renvoyée à un statut second :elle est un choix possible à l’intérieur d’une création incessante d’images-réalités, par où se constitue singulièrement une fiction enveloppante de la vie. Notre objectif n’est pas de déprécier le choix en faveur de la raison en indiquant qu’il serait, à tout coup, contraint et réducteur. Mais ne plus être en mesure – parce que l’être humain est d’emblée appréhendé en tant qu’être de raison (ens rationis) – de penser que la raison requiert un choix et qu’elle ne « va » pas de soi, c’est se couper de tout accès à la question :« Qu’est-ce que l’homme ?».
Nous voulons considérer l’être humain en tant qu’il imaginise le réel en y adjoignant une part fictive qui, à la fois, précède, intègre et outrepasse la « simple » raison. Fiction enveloppante forcément ignorée par le rationalisme positiviste, alors qu’elle est attachée de façon indissoluble à la vie de chacune et de chacun ;tous étant les acteurs individuels d’une histoire personnelle et collective.
Avant d’être un être de raison, l’homme est un être vivant qui imaginise singulièrement les choses, les situations, les évènements, ses semblables… Il en résulte une complexité telle qu’aucun échange, aucune relation, aucune cohabitation, ne peuvent à priori être déterminés rationnellement. Dès lors, si les présentes recherches ne portent pas directement sur le politique, celui-ci en constitue l’horizon, voire la finalité ultime. L’expérience nous apprend en effet que pour qu’une philosophie politique puisse être politiquement pertinente et utile, il faut qu’elle soit fondée non pas sur ce que l’on voudrait que les hommes soient, mais sur ce qu’ils sont. Non pas sur les hommes rationnels que la théorie souhaiterait qu’ils fussent, mais sur des êtres ayant un corps fait de mémoire, de peurs et de rêves.
En ce sens, nous partageons le questionnement quant à la nécessité d’une approche qui prendrait en compte « la totalité des dimensions de la vie humaine, le mythe comme la raison, le religieux comme le juridique, non pour les confondre, mais pour les articuler ensemble » .Notre plaidoyer est double, mais non contradictoire :il s’agit de penser une plus grande complexification du politique que celle définie par la raison identitaire – héritée de l’ère moderne et des Lumières – et qui est factuellement dépassée par le monde/mondialisé qui constitue désormais le territoire de toute politique. Cela n’est possible qu’en affrontant le fait que les hommes ne sont pas que raison, mais sont avant tout des imaginaires singuliers. Fonder, en ce sens, une politique requiert préalablement la définition de ce que l’on entend par imaginaires singuliers, et impose d’en repérer les modes d’agir, non plus seulement au niveau de l’histoire, ni même d’une histoire culturelle, mais d’une génésie culturelle :tel est l’objectif des recherches que l’on va lire. Celles-ci sont illustrées principalement par deux exemples paradigmatiques :la mythologie chrétienne, et le cinéma en tant qu’art de l’univers mytho-technique.
Doctorat en Philosophie
info:eu-repo/semantics/nonPublished
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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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Read, Madeleine Erica. "Misrepresenting the Shoah in American Film." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/7214.
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How should we, Americans, confront our complicity in reproducing the Shoah? For complicit we are, if consumerism is any metric: Steven Spielberg<'>s 1993 film Schindler<'>s List had grossed $321 million as of 2012; more than 40 million people have made the pilgrimage to the sacred US Holocaust Museum; at last count, The Diary of Anne Frank had sold 30 million copies. These numbers are stale staples in the debate over the ethics of Shoah representation, of course, but they bear out the skepticism of critics who have questioned American Holocaust consumer culture. And consumerism is only the first of many such ethical quandaries, which include how to deal with the trauma that audiences experience upon viewing Holocaust films and what happens when secondary witnesses overidentify with Holocaust victims.This paper takes up an unusual form of Holocaust art: misrepresentative film. I discuss two films, Quentin Tarantino<'>s Inglourious Basterds and Wes Anderson<'>s The Grand Budapest Hotel, to argue that intentional misrepresentations not only call attention to the pitfalls of traditional representation but also encourage audiences to work through the transhistorical trauma of the Shoah. Released in 2009, Tarantino<'>s was perhaps unique in cinema for its radical alteration of history, intended to give audiences the sheer pleasure of seeing the Nazi regime go up, literally, in flames. Though the film is undoubtedly a revenge fantasy that, using Dominick LaCapra<'>s terms, embodies <"e>acting out€ in response to historical trauma, it does so by flipping the traditional narrative: unlike most depictions of the Shoah, it complicates the victim-perpetrator binary, identifies audiences with the transgressors, and constantly calls attention to its own fictionality. Movies like The Grand Budapest Hotel are evidence that Tarantino really did shatter the constraints of the genre. Basterds certainly makes no effort toward historical accuracy, but since its appeal depends on the audience<'>s awareness of its inaccuracies, Tarantino is still elbow-deep in real history. Anderson is not. Budapest is a troubled film, haunted by invasions, wars, arrests, and displays of arbitrary power, many of which recall the Third Reich. The function of these ominous forces, however, is not to offer commentary on the Shoah but simply to recreate the illusory world of Stefan Zweig, on whose writings it was based. In producing a movie about Nazi-occupied Europe in which the troubles of the period are relegated mostly to the background, Anderson furthers the deconstruction of the Holocaust film genre, raising the possibility that such films can be historically serious without being bound by restrictive rules.
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Kocábek, Daniel. "Autorská realizace filmového dialogu." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-264774.
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This thesis is about auteur execution of film dialogue in screenplays and also in film. By analysing four different feature films, Reservoir Dogs, Chasing Amy, Before Sunset, and Rushmore this work shows how their authors shoot conversational scenes in an innovative manner. The American Independent cinema is briefly introduced as well as the auteur theory. The choice of filmmakers and specific films is explained. The thesis subsequently demonstrates how film dialogue is being viewed by film handbooks and how a conventional dialogue scene looks like. The four analyses are based on all of this information.
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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 achieve the effect of the original speech with the translation in view of dialect, colloquialisms and swear words. The method of this study was to examine the translation of the film, and the features that were different from standard Finnish were categorised into groups to clarify their analysis later. The theoretical background reveals that audiovisual translating is a difficult field due to the technical restraints. This thesis is interested in colloquial features of Finnish, such as apocope, passive voice and the omission of sounds, and they were examined. Finnish dialects can be divided into western and eastern varieties, and translating them is difficult. Therefore, dialectal features should be used indicatively, and consistency is very important. When translating swear words, however, consistency is not a major deciding factor: Finnish swear words can be toned down or omitted completely. In the analysis, it became evident that the dialectal features were from the western dialects of Finnish. However, the translator did not consistently use features from one specific dialect. The translation is full of colloquialism, such as passive voice and omission of sounds from words. There were also instances of military slang and loan words from Swedish. Half of the English swear words were translated into Finnish and they were often toned down. It can be stated that it is difficult to translate spoken English into written Finnish, especially when dealing with audiovisual restrictions. Using dialects was probably avoided in fear of causing confusion in viewers. The dialectal features were not consistently from one dialect, and this is often frowned upon. In my opinion, however, the translation is refreshingly different from most Finnish translations in the silver screen, and as audiovisual translations are so different from literary translations, the translator can be forgiven certain things. Colloquial expression are useful for the audiovisual translator as they are often shorter than standard Finnish words. The Finnish swear words were toned down, as is often the case in all audiovisual translationsPro gradu -tutkielmani otsikko on ”On the Finnish translation of dialect in Quentin Tarantino’s Inglourious Basterds”, ”Quentin Tarantinon Kunniattomien paskiaisten suomenkielisestä käännöksestä”. Sen aiheena on tutkia Appalakkien alueella puhutun englannin kääntämistä puhekieliseksi suomeksi, ja koska materiaali on peräisin elokuvasta, tutkimuksessa painotetaan audiovisuaalista kääntämistä. Elokuvan on suomentanut Timo Porri, ja hahmo, johon tutkimus keskittyy, on luutnantti Aldo Raine. Tutkimuksen tarkoituksena on selvittää, miten kääntäjä on suomentanut hahmon murteellisen englannin käyttäen apunaan murteellisia ilmaisuja, puhekielisyyksiä sekä kirosanoja. Suomen kirjakielestä poikkeavat piirteet on lajiteltu ryhmiin, jotta niiden analysointi olisi selkeämpää. Teoreettisen taustan tarkastelussa selvisi, että audiovisuaalinen kääntäminen on vaikeaa teknisten rajoitusten takia. Tämä tutkimuksen aiheena ovat suomen puhekielisyydet, kuten loppuheitto, passiivin käyttö ja äänteiden jättäminen pois sanoista, ja näitä piirteitä on esitelty teoriaosassa. Suomen murteet voidaan jaotella läntisiin ja itäisiin murteisiin, joiden kääntäminen on vaikeaa. Siksi murteellisia ilmaisuja pitäisi käyttää viitteellisesti, ja yhdenmukaisuus on tärkeää. Kirosanojen suhteen yhdenmukaisuus ei ole avainasemassa, sillä kirosanoja voidaan laimentaa tai jättää kokonaan kääntämättä. Analyysissä kävi ilmi, että käännöksen murteelliset ilmaisut olivat peräisin läntisistä murteista, vaikka kääntäjä ei ollutkaan käyttänyt vain yhtä tiettyä murretta. Puhekielisiä piirteitä, kuten passiivin käyttöä ja äänteiden pois jättämistä, on käännöksessä paljon. Käännöksestä voi myös löytää armeijasanastoa sekä lainasanoja ruotsista. Puolet englanninkielisistä kirosanoista on käännetty suomeksi, ja usein kääntäjä on käyttänyt miedompaa kirosanaa. Puhuttua englantia on vaikea kääntää kirjoitetuksi suomeksi, etenkin kun täytyy huomioida audiovisuaalisen kääntämisen rajoitukset. Murteiden käyttöä on vältetty luultavasti siksi, että kääntäjä ei ole halunnut aiheuttaa hämmennystä katsojissa, jotka eivät ehkä ymmärrä murteellisia sanoja. Murteelliset sanat eivät ole peräisin yhdestä murteesta, ja tämä on usein kritiikin aihe. Mielestäni käännös on kuitenkin virkistävän erilainen, ja koska audiovisuaalinen kääntäminen eroaa kirjallisuuden kääntämisestä, voidaan kääntäjälle antaa joitakin asioita anteeksi. Puhekieliset sanat ovat hyödyllisiä audiovisuaaliselle kääntäjälle, sillä ne ovat usein lyhyempiä kuin suomen kirjakielen sanat. Suomalaisia kirosanoja oli laimennettu, kuten audiovisuaalisissa käännöksissä usein tehdään
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Buyukada, Utkan. "Filmmanusens funktion i Quentin Tarantinos bildspråk : Jämförelseanalys av två manus - Hateful Eight och Reservoir Dogs." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-78298.
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This essay is a comparative analysis of Quentin Tarantino´s first, Reservoir Dogs (Quentin Tarantino, 1992), and his latest screenplay, Hateful Eight (Quentin Tarantino, 2015). Focus of the essay is Tarantino as a screenwriter and investigates the correlation between visual intentions and formation of their effects on film. The starting point of the essay is a theoretical approach where the connection between screenplay and film is discussed as a continuous process. A description of the screenplay and the rules of its format precedes the analysis part of the essay. Focus on the analysis is the visual instructions in screenplay text and correlation between these instructions and the film. Two versions of each script will be used in the essay. The analysis is divided in three parts. First, the two different version of the screenplay will be compared separately; second, each script will be compared with the film and third, the two scripts from each movie will be compared with one and other. The conclusion of the thesis summarizes, the function of the screenplay in Tarantino´s work and discusses the possibilities for the screenplay in the filmmaking process and the complex relationship between script and film as well as the intentions of the script mirrored in the film.
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Borglin, John. "Django, historien om en hjälte : En diskursanalys av postkoloniala och genusteoretiska maktförhållanden i Quentin Tarantinos film Django Unchained." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-70963.
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The following study aims to analyze expressions of postcolonial and gender theoretical conditions of power in Quentin Tarantino’s film Django Unchained. The method of analysis is the one of discourse analysis. The analysis is used as a means to distinguish the expressions of value which will aim to depict the gender theoretical- and postcolonial structures of power the film mediates. Furthermore, the results given by the analysis will be discussed in relation to creation of prosthetic memory. Considering the prosthetic memory’s impact on the viewers subjectivity, and outlook on both present and future values, the theory will adequately be discussed in relation to the representation this pop-cultural medium mediate. This study does not aim to analyze the historical authenticity of the film but rather to identify which postcolonial and gender theoretical values that are projected through the historical narrative. However, Django’s hero status will be discussed in relation with the mid-19th century American setting. As for the results of the analysis they were both in line with, and contradictive to, what the previous studies has shown. In correlation with the preceding studies the film did not seem to address the psychological issue of the different positions of power a slave could have. However, the position of Django was in fact a subject of problematization. The configuration of gender was less nuanced, which gave rise to a one-sided function and power stature for the depicted women of the film. In contrast to this, the power hieratical position for men were highly fluid and dependent on several factors.
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Elterich, Geoffrey Kenneth. "Tarantino : exposing the spectacle of the postmodern condition /." 2007. http://www.consuls.org/record=b2909426.
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Thesis (M.A.) -- Central Connecticut State University, 2007.Thesis advisor: Robert Dunne. "... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 86-89). Also available via the World Wide Web.
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Dias, Vítor Emanuel Simões. "A palavra nos filmes de Quentin Tarantino : o diálogo como suporte da estrutura narrativa." Master's thesis, 2011. http://hdl.handle.net/10316/31994.
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Dissertação de mestrado em Estudos Artísticos, apresentada à Faculdade de Letras da Universidade de CoimbraDesde há muito tempo que, no cinema, as palavras têm vindo a ganhar um relevo cada vez mais elevado, o que permite conferir à estrutura dos filmes, diversas possibilidades de orientação. Os filmes de Quentin Tarantino assentam numa estruturação muito pouco convencional. O recurso aos diálogos por parte deste realizador, chega a ser exaustivo, mas muito bem articulado, atribuindo à narrativa um ambiente renovado, pouco usual no cinema americano. Além de entreter e causar tensão através dos diálogos, Quentin Tarantino serve-se deles para sustentar as suas narrativas, recorrendo variadas vezes a articulações temporais e espaciais.
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Terblanche, Catherine. "Dismemberment and dispossession in the work of Quentin Tarantino and Nathalie Djurberg." Diss., 2014. http://hdl.handle.net/10500/18718.
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Text in EnglishThis study aims to apply the biopolitical theories of Giorgio Agamben on homo sacer to the stereotypical representation of the violent woman. Using feminist methodologies for dismantling and exposing social stereotypes, this research explores the relationship between femininity, violence and the representation of these. By focussing on the influence of traditional narratives as found in ancient mythology and fairy tales, the study investigates the contemporary portrayal of the stereotypical violent woman using acts of dismemberment and dispossession in the work of Quentin Tarantino and Nathalie Djurberg, which serve as examples of the controversial relationship between real and filmic violence.
Art History, Visual Arts & Musicology
M.A. (Art History)
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Van, Wyk Karl. "Alternative times: temporalities in the alternative histories of Philip Roth, Martin Amis, and Quentin Tarantino." Thesis, 2017. https://hdl.handle.net/10539/24616.
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A dissertation submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements of the degree of Doctor of Philosophy, Johannesburg, 2017The publication of alternative history fiction increased greatly after World War II, the war itself having become one of the mode’s most popular subjects. In recent years several acclaimed authors and filmmakers have constructed their own World War II alternative histories, thus providing the mode with increased academic at tention. This study focuses on Philip Roth’s fictional memoir The Plot Against America, Martin Amis’s novel Time’s Arrow, and Quentin Tarantino’s film Inglouri ous Basterds. These texts are also read against more typical instantiations of the mode to demonstrate how they may or may not deviate from an assumed norm. This will be done with particular focus on formulations of temporality as it is rep resented within alternative history. That time, among other matters, is among this study’s central concerns is reflected in this project’s structure. In the Introduction existing definitions of the mode are critiqued, and new definitions offered. There after, the study is divided into four parts, with parts one (Pasts), two (Presents), and three (Futures) offering discussions on how these conventional temporal de marcations are portrayed in the primary texts. “Part 1: Pasts” discusses the texts’ subversive representations of World War II. This section interrogates whether such subversions of history may open the primary texts to accusations of Holocaust de nial and historical relativism. “Part 2: Presents” demonstrates how understandings of the past come to influence understandings of the present. This section is also concerned with how a traumatic past both constructs characters’ present identity and may alter their perception of the past from the vantage point of their present. And “Part 3: Futures” discusses how certain characters’ ability to rethink the past, or narrate alternative histories, may inform their ability to imagine future possi bilities. Before offering a conclusion, “Part 4: Pasts, Presents, Futures” proposes that the primary texts, and alternative histories more generally, destabilise the common temporal nodes as they may be understood within the context of causal ity. Also, using Paul Ricoeur’s theories of narrative time, particularly mimesis 1 , mimesis 2 , and mimesis 3 , this section argues that past, present, and future proliferate within the context of alternative histories. This is particularly true when understanding the readers’ time as read against the time of the text, and also demonstrates how alternative histories may offer ways of thinking about alterna tive temporalities.
XL2018
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Faradji, Helen. "Maniérisme et distanciation ludique dans le film noir contemporain : autour du cinéma de Joel et Ethan Coen et de Quentin Tarantino." Thèse, 2008. http://www.archipel.uqam.ca/1558/1/D1701.pdf.
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Les films des cinéastes américains Joel et Ethan Coen et Quentin Tarantino ont su marquer leur temps. Soutenus tant par la critique que par le public, manifestant une façon de faire du cinéma aussi originale qu'inédite, ces films sont également les représentants les plus cohérents d'une tendance signifiante traversant le cinéma des années 1990. Suivie par plusieurs autres cinéastes, cette tendance structurante, laquelle envisage le cinéma dans son historicité, que je nomme post-maniériste, vise à faire revivre avec dynamisme et singularité le genre du film noir. Les genres sont en effet un outil indispensable pour quiconque tente de comprendre Ie cinéma amélicain. Tous les films de cette cinématographie portent en eux la marque de ces catégories portées à un point de perfection par le système hollywoodien classique. Or, une fois ce système anéanti, que faire des genres, et en particulier du film noir, une des catégories les plus remarquables du système par la richesse et l'ambiguïté de ses thèmes et l'esthétisme raffiné de son style? Si certains ont choisi la voie de l'académisme en se contentant d'en perpétuer la tradition de façon mécanique, d'autres, comme les frères Coen et Quentin Tarantino, en ont proposé un renouvellement en y injectant une proposition d'auteur. Il faut ici noter que malgré sa noirceur pessimiste, le film noir est le genre qui a le mieux survécu au déclin des grands studios. Les films de mon corpus, Blood Simple, Fargo, The Big Lebowski, Barton Fink, Miller's Crossing et The Man Who Wasn't There des frères Coen et Reservoir Dogs, Pulp Fiction et Jackie Brown de Quentin Tarantino, en sont de vivifiantes illustrations. Ces films me semblent devoir être rapprochés en raison de leur modélisation similaire du film noir et de leur attitude commune face à ce genre de référence caractérisant le post-maniérisme. Bien qu'illustrées par d'autres, les caractéristiques de cette tendance sont portées à leur point d'observation le plus complet chez ces cinéastes. Le déformant autant qu'ils le reforment, ces films s'inscrivent en réalité au coeur même du genre pour le retravailler de l'intérieur, en mettant en tension le style du film noir et leur style propre et révélent leur réelle volonté de le faire revivre par la vitalité de leurs propositions contemporaines. Marqués par une singularité artistique commune, ces films se caractérisent alors par une distanciation ludique particulière imprimée à la forme générique classique et par l'emprunt à d'autres genres populaires. Or, ces distanciations ne visent pas à épuiser les possibilités génériques du noir, mais au contraire à permettre un voyage à l'intérieur du genre, ce dernier devenant un espace singulier de réflexion sur l'Amérique, le cinéma et l'art. Le cinéma de ces auteurs est en effet signifiant en premier lieu par l'exploitation d'une mémoire des lieux, des thèmes, des personnages et de la narration inhérente au genre film noir. Je propose alors cette autre hypothèse: le cinéma noir classique, en puisant dans le répertoire stylistique torturé et angoissant de l'expressionnisme allemand, se caractérisait également par une attitude maniériste induite par une réaction des cinéastes noirs à l'épuisement du cinéma policier hollywoodien. Le maniérisme est, en réalité, un concept hérité de l'histoire de l'art, qui désigne une école picturale du XVIe siècle, arrivée juste après la Renaissance et hantée par la question: comment créer après la perfection? Or, en réactivant la mémoire du film noir, les films des frères Coen et de Quentin Tarantino en réactivent également la mémoire maniériste. Pourtant, leurs
films dépassent ce premier maniérisme en proposant un renouvellement stylistique plus distancié, plus amusé, du contenu et de la forme, engendrant une esthétique et un propos originaux inédits. Articulé autour des enseignements théoriques de la sémiologie générative, je propose de comprendre ces détournements comme caractérisant un nouvel état du genre que je nomme post-maniériste. Impliquant un nouveau rapport à la nature des images et une relation singulière à l'histoire du cinéma, ce nouvel état est également la manifestation d'une réaction des cinéastes à une crise artistique frappant le cinéma dans les années 1990. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Cinéma américain contemporain, Film noir, Maniérisme, Stylisation, Évolution générique.
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Benešová, Lucie. "Reprezentace feminity ve filmové tvorbě Quentina Tarantina." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-332800.
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The submitted thesis is titled Representations of Femininity in Quentin Tarantino's Movies and it focuses on the process of femininity construction in six selected movies both written and directed by Quentin Tarantino. The aim of this study is to identify how Tarantino operates the notions of conventional femininity and traditional female gender roles. Furthermore, it investigates to what extent his films either support or subvert stereotypical gender identities. In relation to the research issues the key concepts are defined by the theoretical part of this work. In particular it describes the theory of social and media construction of reality, gender as construct, film as a part of patriarchal structure or feminist perspectives related to the film production. This same part also offers basic information about Quentin Tarantino's personality and his film works in general. In order to answer the research questions the thesis employs a qualitative method of critical discourse analysis which functions as a helpful tool while reconstructing the image of femininity set by media. Moreover, the selected method serves to reveal latent meanings applied by film as a form of media to affect both behavioural and cognitive individual characteristics. Keywords Femininity, gender, construct, stereotype,...
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Stubbs, Evelyn. "Intersections : Baudrillard's hyperreality and Lyotard's metanarratives in selected Tarantino Visual Tropes." Diss., 2011. http://hdl.handle.net/10500/6685.
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This dissertation examines two films directed by Quentin Tarantino, whom I have situated as a postmodern film director, within the theoretical context of the philosophies of two postmodern philosophers: Jean Baudrillard and Jean-François Lyotard. I argue that the major institutions of society, such as the family and religion, are viewed as grand narratives, in Lyotard’s sense of the term, which Tarantino repeatedly subverts. Overlapping with this intersection of Lyotard’s philosophy in Tarantino’s films is the Baudrillardian loss of the real, which manifests as hyperreality in many scenes. I suggest that Tarantino makes a conscious effort to create such hyperreality with the creation of playful signifiers in his films. I examine selected scenes to find Baudrillard’s “successive phases of the image” (Baudrillard 2010:6) that lead to the creation of a simulacrum. The compelling intersections between the creation of Baudrillardian simulacra and the subversion of Lyotard’s grand narratives are explored within selected scenes which are deconstructed by means of film narratology, semiotic analysis and narrative analysis. The combination of the various methods of media research in this thesis enables what Jane Stokes calls “a more textured understanding” (2008:27) of the films under discussion. A close reading from a semiotic point of view facilitates a deconstruction of some obscure elements, such as the embedded meaning in lyrics and dialogue or the messages implicit in the mise en scène.English Studies
M. A.
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DeLassus, Dana. "Silence of the schoolgirls : death and the Japanese schoolgirl in contemporary US pop culture." 2013. http://hdl.handle.net/2152/21422.
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This thesis explores images of the Japanese schoolgirl as accessory to the Occidental Self in contemporary Orientalist pop culture in the US. In an analysis of a series of images by four different Western pop culture artists, each artist expresses an appreciation for Japan that is based primarily on their encounter with Japanese pop culture. Furthermore, they express identification with the Japanese Other and a desire to introject into Japanese subjectivities. However, lacking the material body needed for full immersion or identification with the Other, they produce the Japanese schoolgirl as an accessory to the Self. The accessory provides false immersion or identification with the Japanese Other. In this way, the Japanese schoolgirl becomes the embodiment of Japanese pop culture and an object for Western fetishization.text
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Mitchell, Amber N. "Playing patsy: film as public history and the image of enslaved African American women in post-civil rights era cinema." Thesis, 2017. https://doi.org/10.7912/C26H27.
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Indiana University-Purdue University, IndianapolisThe goal of this thesis is to understand the relationship between the evolving representations of African American women in post-Civil Rights era films about the Transatlantic slave trade; the portraits these images present of black women and their history; and how these films approach the issues of difficult heritage and re-presenting atrocity in entertainment. Film shapes the ways in which we understand the past, leaving a lifelong impression about historical events and the groups involved. By analyzing the stories, directorial processes, and the public responses to four films of 20th and 21st centuries focused on the controversial historical topic of American chattel slavery and its representation of the most underrepresented and misunderstood victims of the Peculiar Institution, this work will argue that, when supplemented with historiography and criticism rooted in historical thinking, cinematic depictions of the past make history more accessible to the public and serve as a form of public memory, shaping the way the public thinks about our collective past.
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Hamel, Louis-Philippe. "«Cool crime films» : tendance cool de la représentation de la criminalité dans le cinéma des années quatre-vingt-dix." Thèse, 2017. http://hdl.handle.net/1866/20169.
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Žáčková, Julie. "Zobrazení rasy na plátně: Koncept Afro-americké bolesti skrz objektivy euro-amerických filmařů." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-336494.
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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, 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.
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Huang, Crystal Min-Hua, and 黃敏華. "Murder and Morals: The Function of Aestheticized Violence in Quentin Tarantino’s Django Unchained and Pulp Fiction." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/58dr63.
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碩士國立臺北科技大學
應用英文系碩士班
105
This paper will explore the theme of violence, primarily in three parts: physical, structural and psychological. An analysis of how the construct of violence is explored through plot, structure and dialogue will be implemented while using various theoretical interpretations of violence in two of Quentin Tarantino’s movies: Pulp Fiction (1994) and Django Unchained (2012). This paper argues that violence functions in Tarantino’s movies broadly in two specific ways: firstly, ultra-stylized violence purely for aesthetic response and deprived of narrative; secondly, violence which serves a didactic function. This second kind of violence – didactic violence – portrays a moral ideology, highlights structural inequality in society, and encourages us to think about the moral necessity of violence in the face of injustice. This didactic violence serves as a channel for characters to arrive at certain moral conclusions in morally complex dilemmas. Tarantino remodels the “aestheticization of violence”, critiqued for its arbitrariness, by a constant juxtaposition of movement between “narrative-focused” violence and “purely-aesthetic” violence, and in doing so adds a moral dimension to these two movies. The main argument of my thesis is that the violence in Pulp Fiction (1994) and Django Unchained (2012) is not merely aesthetic, trans-moral and artistic, but is also instructive.