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Relevant bibliographies by topics / Tarantino references

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Academic literature on the topic 'Tarantino references'

Author: Grafiati

Published: 24 April 2022

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Journal articles on the topic "Tarantino references"

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Górny, Antoni. "Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South." Polish Journal for American Studies, no. 13 (Autumn 2019) (October 15, 2019): 237–52. http://dx.doi.org/10.7311/pjas.13/2/2019.06.

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The so-called blaxploitation genre — a brand of 1970s film-making designed to engage young Black urban viewers — has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem film,

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Labianca, Claudia, Sabino De Gisi, Francesco Todaro, and Michele Notarnicola. "DPSIR Model Applied to the Remediation of Contaminated Sites. A Case Study: Mar Piccolo of Taranto." Applied Sciences 10, no. 15 (2020): 5080. http://dx.doi.org/10.3390/app10155080.

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The study critically analyses the complex situation of the Mar Piccolo of Taranto (South of Italy), considered one of the most polluted marine ecosystems in Europe. In order to investigate possible cause–effect relationships, useful to plan appropriate planning responses or remediation technologies to be adopted, the Driver–Pressure–State–Impact–Response (DPSIR) model was applied. Methodologically, about 100 references have been considered, whose information was organized according to the logical scheme of the DPSIR. The results showed how the Mar Piccolo is the final receptor of pollutants co

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Cuningham, Phillip Lamarr, and Melinda Lewis. "“Taking This from This and That from That”: Examining RZA and Quentin Tarantino’s Use of Pastiche." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.669.

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In his directorial debut, The Man with the Iron Fists (2012), RZA not only evokes the textual borrowing techniques he has utilised as a hip-hop producer, but also reflects the influence of filmmaker Quentin Tarantino, who has built a career upon acknowledging mainstream and cult film histories through mise-en-scene, editing, and deft characterisation. The Man with the Iron Fists was originally to coincide with Tarantino’s rebel slave narrative Django Unchained (2012), which Tarantino has discussed openly as commentary regarding race in contemporary America. In 2011, Variety reported that RZA h

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Toral, Jean Anne B. "Health Service Delivery as a Research Agenda." Acta Medica Philippina 55, no. 1 (2021). http://dx.doi.org/10.47895/amp.v55i1.2920.

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For any company or organization, its service delivery mirrors its effectiveness in attaining its goals. For a health care institution, this is health service delivery. Why should health service delivery be a priority of any health care institution or organization The World Health Organization (WHO) talks about improving the quality of patient-centered health service as the road to achieving universal health coverage and the Sustained Development Goals (SDGs).1 The US Agency for International Development (USAID) embarked on ASSIST, Applying Science to Strengthen and Improve Systems, a fiv

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Da. Canto, M., F. Zucchetta, S. Maruccia, M. Mignin. Renzini, and J. Buratini. "P–506 Low anxiety and depression levels and a confronting attitude characterise infertile couples undergoing ART treatments during phases 2 and 3 of COVID–19 pandemic in Italy." Human Reproduction 36, Supplement_1 (2021). http://dx.doi.org/10.1093/humrep/deab130.505.

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Abstract Study question Which pshycological factors have influenced the choice of infertile couples seeking for ART treatment during Phases 2 and 3 of COVID–19 pandemic in Italy? Summary answer Couples undergoing ART treatment during Phases 2 and 3 of COVID–19 pandemic in Italy show low levels of anxiety and depression and a problem-centred attitude. What is known already COVID–19 pandemic has exposed people to psychological and health safety risks, forcing acceptance of important work and social restrictions. In lockdown Phase 1, all ART procedures were suddenly suspended. This was superimpos

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Siemienowicz, Rochelle. "Diary of a Film Reviewer." M/C Journal 8, no. 5 (2005). http://dx.doi.org/10.5204/mcj.2409.

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   All critics declare not only their judgment of the work but also their claim to the right to talk about it and judge it. In short, they take part in a struggle for the monopoly of legitimate discourse about the work of art, and consequently in the production of the value of the work of art. (Pierre Bourdieu 36).   As it becomes blindingly obvious that ‘cultural production’, including the cinema, now underpins an economy every bit as brutal in its nascent state as the Industrial Revolution was for its victims 200 years ago, both critique and cinephilia see

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Fuller, Glen. "The Getaway." M/C Journal 8, no. 6 (2005). http://dx.doi.org/10.5204/mcj.2454.

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   From an interview with “Mr A”, executive producer and co-creator of the Getaway in Stockholm (GiS) films:  Mr A: Yeah, when I tell my girlfriend, ‘You should watch this, it’s good, it’s a classic, it’s an old movie’ and she thinks it’s, like, the worst. And when I actually look at it and it is the worst, it is just a car chase … [Laughs] But you have to look a lot harder, to how it is filmed, you have to learn … Because, you can’t watch car racing for instance, because they are lousy at filming; you get no sensation of speed. If you watch the World Rally Champi

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Meakins, Felicity, and E. Sean Rintel. "Chat." M/C Journal 3, no. 4 (2000). http://dx.doi.org/10.5204/mcj.1855.

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"For most of us, if we do not talk of ourselves, or at any rate of the individual circles of which we are the centres, we can talk of nothing. I cannot hold with those who wish to put down the insignificant chatter of the world." -- Anthony Trollope, Framley Parsonage This issue of M/C explores the notion of 'chat', examining its contexts, forms, functions and operations. 'Chat' appears to be a descriptive subset of 'talk', often characterised somewhat unfairly as idle or frivolous 'small talk', 'gossip' -- the kind of tête-à-tête that is mediated through cups of tea (alluded to in Jen Henzell

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Carmago, Sandy. "'Mind the Gap'." M/C Journal 5, no. 5 (2002). http://dx.doi.org/10.5204/mcj.1981.

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The structuring of a film's plot as the trajectory of the goals and desires of a single protagonist can be seen as the most critical development in cinematic narrative. In addition to its commodity implications via the star system and its centrality to a range of important film theories about fantasy and pleasure, the single protagonist is the linchpin of the cinema's ability to transmit messages that confirm the most basic myths about the power of the individual in society. While Hollywood's use of the single protagonist as a model for the self is particularly detrimental in the United States

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Wessell, Adele. "Making a Pig of the Humanities: Re-centering the Historical Narrative." M/C Journal 13, no. 5 (2010). http://dx.doi.org/10.5204/mcj.289.

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As the name suggests, the humanities is largely a study of the human condition, in which history sits as a discipline concerned with the past. Environmental history is a new field that brings together scholars from a range of disciplines to consider the changing relationships between humans and the environment over time. Critiques of anthropocentrism that place humans at the centre of the universe or make assessments through an exclusive human perspective provide a challenge to scholars to rethink our traditional biases against the nonhuman world. The movement towards nonhumanism or posthumani

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Book chapters on the topic "Tarantino references"

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White, John. "The Anchorless Postmodern Experience within an Ahistorical Filmic Space: Django Unchained (2012)." In The Contemporary Western. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474427920.003.0007.

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This chapter considers the way in which Django Unchained (2012) is specifically positioned by the director within a well-defined historical period but is then constructed very clearly as a cinematic fantasy. It is argued that this film, despite genuine concerns on the part of those involved in its making for the ramifications of slavery, does not look to exist in relation to a real space and time but instead within an intense matrix of film references. The relationship of this film to Hollywood classics, such as Gone with the Wind (1939), as well as to spaghetti Westerns and blaxploitation (and sexploitation) movies is examined with reference to specific details from the films. The intense background historical research undertaken by Tarantino is acknowledged. Ultimately, however, the film is seen as a postmodernist text, which because of its ahistorical form is able to escape the need to fully address historical reality.

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Koven, Mikel J. "Corbucci Unchained: Miike, Tarantino and the Postmodern Discursivity of Exploitation Cinema." In Spaghetti Westerns at the Crossroads. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748695454.003.0007.

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This chapter explores both Quentin Tarantino's Django Unchained and Miike Takashi's Sukiyaki Western Django (2007) as they reference the Spaghetti Westerns, specifically the films of Sergio Corbucci. In an interview that first appeared in The New York Times, Tarantino cited the influence of Corbucci on Django Unchained; not only because he directed the Italian Western to which both Miike's and Tarantino's films make direct reference in their titles (Django (1966)), but also because ‘his was the most violent, surreal and pitiless landscape of any director in the history of the genre’. While Tarantino's claim may be mildly hyperbolic, his citing of Corbucci as an explicit influence is central to the present discussion. The chapter first offers a synthesis of some key ideas within postmodernism, followed by textual consideration of Miike's Sukiyaki Western Django and Tarantino's Django Unchained as two different kinds of postmodern texts.

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Iversen, Gunnar. "Arctic Carnivalesque: Ethnicity, Gender and Transnationality in the Films of Tommy Wirkola." In Films on Ice. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694174.003.0008.

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This chapter examines the way in which Sámi filmmaker Tommy Wirkola ironically appropriates contemporary Hollywood films such as The Blair Witch Project (1999) and Quentin Tarantino’s Kill Bill (2003-4) to create ironic, postmodern genres films that address questions of ethnicity and gender. Iversen examines the way in which Wirkola’s films made in Norway such as Kill Buljo: The Movie (2007) and the ‘Nazi zombie horror splatter comedy’ Dead Snow (2009) appropriate the horror genre to tell stories about traumatic events in Northern Norwegian history -- such as the German invasion during Second World War -- while incorporating visual references to European and Scandinavian art cinema. Iversen also analyses the representations of masculinity in Knut Erik Jensen’s Cool and Crazy (2001).

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Conference papers on the topic "Tarantino references"

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Delclòs Alió, Lluís, Jordi Sardà Ferran, Federica Greco, and Panita Karamanea. "El Camp y otras ciudades. Una Ciudad-territorio reflejada en otras similares." In ISUF-h 2019 - CIUDAD COMPACTA VERSUS CIUDAD DIFUSA. Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/isufh2019.2019.9941.

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“El Camp és ciutat” (El Campo es ciudad), en referencia al Camp de Tarragona, fue el título que abría el prólogo de la “Guia d’Arquitectura del Camp”, publicada en 1996. Desde entonces, se ha insistido en la aseveración y en reconocer las propiedades y especificidades de esta especialísima Ciudad-territorio. El conocimiento se ha producido a través de estudios sectoriales -más que generales- y en cursos, tesinas y tesis; pero ninguna estructura de gobierno, planeamiento o control explicita la realidad objeto del presente estudio. Así identificaremos realidades urbanas similares al Camp y, desd

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Delclòs Alió, Lluís, Jordi Sardà Ferran, Federica Greco, and Panita Karamanea. "El Camp y otras ciudades. Una Ciudad-territorio reflejada en otras similares." In ISUF-h 2019 - CIUDAD COMPACTA VERSUS CIUDAD DIFUSA. Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/isufh2019.2020.9941.

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“El Camp és ciutat” (El Campo es ciudad), en referencia al Camp de Tarragona, fue el título que abría el prólogo de la “Guia d’Arquitectura del Camp”, publicada en 1996. Desde entonces, se ha insistido en la aseveración y en reconocer las propiedades y especificidades de esta especialísima Ciudad-territorio. El conocimiento se ha producido a través de estudios sectoriales -más que generales- y en cursos, tesinas y tesis; pero ninguna estructura de gobierno, planeamiento o control explicita la realidad objeto del presente estudio. Así identificaremos realidades urbanas similares al Camp y, desd

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