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Coda: True and Imaginary History in Django Unchained
2018The book ends with a study of Quentin Tarantino’s film Django Unchained. This final chapter acts in part as a response to Carolyn Dinshaw’s groundbreaking study, Getting Medieval: Sexualities and Communities, Pre- and Postmodern. Her provocation to think about what it means to “get medieval”—borrowing the line from Tarantino’s Pulp Fiction—ends with a ...
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Long before he courted controversy with Django Unchained, Tarantino had established a reputation for his pervasive use of racial epithets, his aestheticisation of strong violence, and an emerging appetite for taking sensitive historical atrocity and ...
Turner, Pete
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"Django Unchained": un réservoir d'émotions postmodernes
, 2013 The filmic style of Quentin Tarantino is a dazzling example a postmodern aesthetics full of allusions to the western and spaghetti western genres, and to some TV series in the 1950's and 1960's. The popular culture in film, video, TV, and music of Tarantino is breath-taking, as the rhythm of action in his last movie, Django unchained (2012).
Lombardo, Patrizia
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“You Ain’t Gonna Get Away Wit’ This, Django”: Fantasy, Fiction and Subversion in Quentin Tarantino’s,Django Unchained [PDF]
Quarterly Review of Film and Video, 2019 From 2009 to 2015, U.S. director, Quentin Tarantino, released three films that were notable for their focus on particular historical events, periods and individuals (Inglorious Basterds 2009; Django Unchained 2012; The Hateful Eight 2015).
Jack Black
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