Inglo(u)rious basterdisation?: Tarantino and the war movie mashup’
Inglo(u)rious basterdisation?: Tarantino and the war movie mashup’
This article appears in the Oxford Handbook of Sound and Image in Digital Media edited by Carol Vernallis, Amy Herzog, and John Richardson. This essay explores ways in which mashup principles are applied in Quentin Tarantino’s film Inglourious Basterds, where multiple references do not just emphasize counterpoint or defamiliarization through ironic parallelism, but, more importantly, seek pluralism, the true goal of mashup culture. The film was heavily critiqued for rewriting the ending of World War II and creating an alternate version of the Holocaust. Tarantino’s use of preexisting music by Ennio Morricone, and especially references from the spaghetti western subgenre, allow historical liberties to become a reflection on the metamorphosis of fact into myth and force the audience to confront its own spectatorial position. Inglourious Basterds ultimately problematizes the nature of historical (mis)representation in war movies.
437–461
Mera, Miguel
35e8e446-9092-4516-b12c-c1fbcf67bc9f
16 December 2013
Mera, Miguel
35e8e446-9092-4516-b12c-c1fbcf67bc9f
Mera, Miguel
(2013)
Inglo(u)rious basterdisation?: Tarantino and the war movie mashup’.
In,
Vernallis, Carol
(ed.)
The Oxford Handbook of Sound and Image in Digital Media.
Oxford University Press, .
(doi:10.1093/oxfordhb/9780199757640.013.030).
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Abstract
This article appears in the Oxford Handbook of Sound and Image in Digital Media edited by Carol Vernallis, Amy Herzog, and John Richardson. This essay explores ways in which mashup principles are applied in Quentin Tarantino’s film Inglourious Basterds, where multiple references do not just emphasize counterpoint or defamiliarization through ironic parallelism, but, more importantly, seek pluralism, the true goal of mashup culture. The film was heavily critiqued for rewriting the ending of World War II and creating an alternate version of the Holocaust. Tarantino’s use of preexisting music by Ennio Morricone, and especially references from the spaghetti western subgenre, allow historical liberties to become a reflection on the metamorphosis of fact into myth and force the audience to confront its own spectatorial position. Inglourious Basterds ultimately problematizes the nature of historical (mis)representation in war movies.
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Published date: 16 December 2013
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Local EPrints ID: 486729
URI: http://eprints.soton.ac.uk/id/eprint/486729
PURE UUID: a8515cbb-ba8e-4a70-ab0d-ba488f8394f5
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Date deposited: 05 Feb 2024 17:37
Last modified: 13 Sep 2024 02:10
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Author:
Miguel Mera
Editor:
Carol Vernallis
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