Results 11 to 20 of about 335 (109)
Un western al secondo grado: la forma parodica in Django Unchained
Iperstoria, 2013 Sostenuto da un’imponente campagna pubblicitaria e mediatica, forte di un cast di attori di primissimo livello e presentandosi innanzitutto col marchio di fabbrica ‘film di Tarantino’, Django Unchained (2012) ha rappresentato anche un ritorno fortunato ...
Stefano Bosco
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Polémique, Identité, Frontières. Le cas Django Unchained [PDF]
Genre en séries, 2018 Cet article s’intéresse à la manière dont une polémique peut devenir le lieu d’une affirmation identitaire pour une minorité, le lieu d’une lutte hégémonique pour le sens, le lieu où peuvent circuler des discours alternatifs participant à construire des identités, en se concentrant sur le cas de la polémique ayant émergé autour du film Django Unchained
Wintgens, Caroline
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Reviewing the Critical Conversation about Django Unchained
Digital Literature Review, 2015 Django Unchained takes place in the Antebellum South and follows a freed slave on his vengeful journey to free his wife. This essay reviews the critical discussion surrounding Django Unchained in order to examine the film’s validity both historically and artistically.
Daniel Brount +2 more
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THE RACISM PORTRAYED IN DJANGO UNCHAINED BY QUENTIN TARANTINO
British (Jurnal Bahasa dan Sastra Inggris), 2019 The study is aimed to analyze Racism in Django Unchained by Quentin Tarantino usingsocio-psychological approach. The analysis used only three types of racism from five categories in Django Unchained, which are Blatant Racism, Cover Rasim, and Unintentional Racism and the impact of them in the character‘s psychological condition around environment.
Dewi Rahmawati Abd. Latif, Lusiana Dumbi
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The Truth in the Script and the Untruth in the Movie: Tarantino’s Rewriting of American History
Iperstoria, 2021 In his historical movies, Quentin Tarantino rereads and rewrites three critical moments of the American past. An interesting strategy he uses is that of introducing different imaginary artifacts into the narration: a film-within-the-film (The Pride of a ...
Enrico Botta
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Paradigma: Jurnal Kajian Budaya, 2015 The writing examines how the process of maintaining the ideology of white supremacy and how Django’s character is constructed as a subject in planting white ideology in the movie Django Unchained (2012) based on the analysis of Django’s relationship with
Rendy Septiadi R
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Django Unchained: A Black-Centered Superhero and Unchained Audiences [PDF]
Black Camera, 2016 In Ishmael Reed’s Wall Street Journal response piece “Black Audiences, White Stars and Django Unchained” he offers a deliberately discomforting description of his encounter with Tarantino’s Django Unchained: “I saw the film in Berkeley where the audience was about 95% white.
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Django Unchained: A Black-Centred Superhero and Unchained Audiences [PDF]
, 2016 In Ishmael Reed’s Wall Street Journal response piece “Black Audiences, White Stars and Django Unchained” he offers a deliberately discomforting description of his encounter with Tarantino’s Django Unchained: “I saw the film in Berkeley where the ...
Coetzee, Carli
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Rescue US: Birth, Django, and the Violence of Racial Redemption
Religions, 2018 In this article, I show how the relationship between race, violence, and redemption is articulated and visualized through film. By juxtaposing DW Griffith’s The Birth of a Nation and Quentin Tarantino’s Django Unchained, I contend that the latter inverts
Joseph Winters
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Music, Sampling, and Musical Intertextuality in Quentin Tarantino's Django Unchained
Iperstoria, 2015 According to both critics and the general public, Quentin Tarantino is probably one of the most respected, applauded—and despised—contemporary directors.
Amaia Ibarraran-Bigalondo
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