Quentin Tarantino

This book examines a set of theoretical perspectives that critically engage with the notion of postmodernism, investigating whether this concept is still useful to approach contemporary cinema. This question is explored through a discussion of the films written and directed by Quentin Tarantino, largely regarded as the epitome of postmodern cinema and considered here as theoretical contributions in their own right.  Each chapter first presents key ideas proposed by a specific theorist and then puts them in conversation with Tarantino’s films. Jacques Rancière’s theory of art is used to reject postmodernism’s claims about the ‘death’ of the aesthetic image in contemporary cinema. Fredric Jameson’s and Slavoj Žižek’s dialectical thinking is mobilized to challenge simplistic, ideological readings of postmodern cinema in general, and Tarantino’s films in particular. Finally, the direct influence of Carol Clover’s psychoanalytical approach to the horror genre on Tarantino’s work is discussed to prove the director’s specific contribution to a theoretical understanding of contemporary film aesthetics.

В статье анализируется фильм Квентина Тарантино «Джанго Освобожденный» (2012) как результат определенной эволюции инициального жанра американского кино. В этом цитатном, но лишенном ностальгии ироническом спагетти-вестерне также получает отражение меняющаяся концепция политкорректности. Конец гегемонии белого человека реализуется в фильме как отказ от привычной этической инверсии в пользу угнетаемых сообществ. Романтический проект воспитания Своего Другого завершен, и Запад может уйти. Борьба за господство разворачивается снова, но только победа отныне предназначена герою, чье имя означает в переводе с цыганского языка «Я проснулся».

Are we supposed to show mercy, like Jules in Pulp Fiction, or seek revenge, like the Bride in Kill Bill? Although it might not seem so at first, Tarantino does have a consistent view when it comes to our obligations regarding showing mercy and enacting revenge. In fact, even though we might not like to admit it, his view is likely the view that most people share.

In this article, I argue that "The Irishman" and "Once Upon a Time in Hollywood" are two of the most suitable films of the Trump presidency, because they provide an otherwise-unattainable closure to various aspects of American history. In Martin Scorsese's epic, we are invited to see the inner circle of the real decision makers of the American Century, as we follow Robert De Niro's Frank Sheeran rise through the mafia, becoming involved with everything from the Bay of Pigs to the murder of Joey Gallo. Scorsese finally "solves" the mystery over who killed Gallo, and what caused Jimmy Hoffa (Al Pacino) to disappear, and so gives a gloss of closure which was especially attractive during the Trump years. Tarantino's alternative tale of the Manson murders, meanwhile, invites us to imagine a perpetual 1960s existence. By saving Sharon Tate, Leonardo DiCaprio's Rick Dalton also saves his career, and on a wider level, saves America from the paranoia, instability, and economic catastrophe of the 1970s. Referring to Joan Didion's article on the end of the 1960s, I argue that by allowing us to imagine that the Manson murders on Cielo Drive had not happened, Tarantino implies that the 1960s, and all of the attendant cultural attachments, would have continued endlessly.

This paper argues that change practitioners could benefit from expanding change communication strategies to allow for the emergence and use of multi-genre change stories in place of minimalist storylines. We argue that minimalist storylines do not acknowledge the polyvocal view of change that has been discussed in storytelling theory or engage with multiple modes of understanding and suggest that change agents adopt a multi-genre approach to storytelling to address this gap. Drawing from Quentin Tarantino's movies Kill Bill 1 & 2 as an example of how stories can be constructed, this paper proposes that the use of multiple story genres increases the likelihood of audiences finding a genre they can relate to, thus increasing better audience reach. Findings suggest that existing change narrative types can be viewed as genres of organizational change and added to change agents' repertoires to make change communication interventions more appropriate and appealing to employees. While our paper aims to provide a conceptual way forward for change agents, we acknowledge that change agents need to engage with living stories in the future. Living stories recognize the multiple loose ends developed from past and present change experiences that can be used to construct new stories, which are more likely to transform organizations and acknowledge the unfolding nature of change.

While many have praised director Quentin Tarantino's films for its charming dialogue and casual inclusion of violence, one commonly unrecognized aspect of his films is its attention to camerawork. This is especially the case in Tarantino's second cinematic debut Pulp Fiction (1994). The film tells the story of Vincent Vega and Jules Winnfield, two philosophical hitmen under the service of gangster Marseilles Wallace. During their mission to retrieve an enigmatic briefcase, their story is interwoven with those of the gangster's wife, a broken down boxer, a fixer and a pair of amateur robbers. In this essay, I will examine how the motif of nihilism is conveyed through the visual direction in Pulp Fiction .

Possivelmente tudo já foi dito sobre Django Livre, de Quentin Tarantino, desde seu lançamento -das mais variadas reações, a favor e contra, à simples e taxativa recusa de tratar do filme. Muito do que se disse versou sobre o conteúdo: o uso desabrido da palavra nigger ("crioulo"), a invisibilização do histórico de resistência negra à escravidão, a violência, o relevo que a trama dá a um personagem branco, Dr. King (difícil pensar que o nome não é uma alusão ao Dr. Martin Luther King) Schultz. Muito se focou na forma, principalmente as duas escolhas fundamentais de criar um passado ficcional alternativo, e de usar o faroeste espaguete como marco de referência -entre as quais a reprimenda do diretor negro Spike Lee de que a "escravidão nos Estados Unidos não foi um faroeste espaguete de Sergio Leone. Foi um holocausto." 2 Infelizmente, dada a divisão de opiniões e o quão contestados são os temas em jogo, o debate frequentemente se tornou uma questão de tomar um ou outro partido e, para tanto, tendeu a reduzir o filme a uma única "mensagem" ou "sentido" conforme algum conjunto definido de "intenções" autorais.

La relation qu’entretient Tarantino avec le classicisme ne paraît pas d’emblée évidente tant le cinéaste américain (s’)est associé au cinéma indépendant, d’exploitation, d’art et d’essai ou encore au blockbuster. Mais si cette présence est somme toute assez modeste relativement à l’hégémonie de Hollywood, c’est justement parce que le projet esthétique et politique tarantinien est fondé sur un engagement passionné avec ce pendant de la culture mainstream, démarche qui s’inscrit dans la continuité des Nouvelles Vagues des années 1960-1970 et que l’on retrouve dans le cinéma indépendant ou off-Hollywood des années 1980-2000.

A reading of gendered violence, body horror, "hyperreality," and postmodern cinematic nostalgia in Quentin Tarantino's 'Death Proof' through Jean Baudrillard's 'Simulacra and Simulation' and 'America' as well as Gilles Deleuze's "Coldness and Cruelty" ('Masochism').

Popular American Film, which reached its peak in the 1980s, declined in terms of quality in the following years. In 1990s, American Film Industry has managed to survive thanks to blockbusters such as "Terminator II", "Titanic" (D: James Cameron) and thanks to the works of extraordinary directors such as David Fincher, David Lynch, Spike Lee and Quentin Tarantino. The works of these artists, who created a different understanding in Popular Cinema reached a wider audience. The films of Quentin Tarantino, who was active in this alternative understanding were at the pinnacle of this new cinema. The film "True Romance" written by Tarantino and directed by Tony Scott was a prototype of Tarantino Cinema. This was followed by "Reservoir Dogs" and "Pulp Fiction" which earned him worldwide success. Quentin Tarantino has made progress in every film he has made, compared to his previous one. His film can be reviewed for the Postmodernist elements it contains as well. In our study, we first investigate the Cinema Environment of the 1990s, which created the conditions for the emergence of Tarantino Film, then the birth of Postmodernism in Arts. In the chapter that forms the basis of our study, we examine Postmodernism in Tarantino Cinema with examples from his films.

"Quentin Tarantino’s latest violent masterpiece Inglourious Basterds has been well yet critically received. Many reviewers have pointed out that the film is morally ambivalent the least because of the aesthetics of violence and the revised version of Europe’s darkest years of the twentieth century. Others, however, perceive it as a much needed and refreshing film - despite or precisely because Tarantino makes obvious the webs of violence.
This article suggests that violence is a deliberate and important means for Inglourious Basterds to work. To fully appreciate the multilayered message of the film, an alternative reading of its aesthetics of violence is necessary: one that focuses on Tarantino’s defiant and bold (yet intentional) use of various forms of violence to brilliantly orchestrate (or manipulate) the viewers’ emotions and bodily senses. He stages violence as spectacle, but the way he uses violence is always also more than a spectacle: it serves as irritation—or better interruption—of audience perception, audience experience, and audience expectations. Instead of offering a cathartic moment or happy ending, Tarantino, in fact, refuses to offer catharsis and thus opens up a space for reflection and trans- formation."

Este trabalho tem como objetivo analisar as nuances do caráter feminista das protagonistas no filme À Prova de Morte (2007), de Quentin Tarantino, a partir da utilização de referências de gêneros na lógica pós-moderna, principalmente a sua forma de usar a violência. Para isso, são estudados o contexto do diretor que se insere no cinema independente norte-americano e sua relação com os filmes de exploitation, através da análise fílmica. Para embasamento na análise feminista, é feito um estudo aprofundado das principais teóricas cinematográficas e a relação com o gênero no cinema, além de analisar a construção das personagens femininas no filme a partir destas teorias. Utilizo a construção dos filmes de estupro-e-vingança como plano de fundo para entender as relações de gênero - masculino e feminino - dentro do longa.

The main objective of the thesis is to provide an analysis of the technical and contextual elements behind the violent scenes in movies directed by Quentin Tarantino, in order to clearly identify the film production methods he uses to produce violent scenes. The violent scenes directed by Quentin Tarantino rely on three main cinematic elements: dark humor, excess and the aestheticization of violence, creating a recognizable, 'tarantinoesque' pattern of filming a fictional violent scene. My intention is to emphasize Tarantino's directorial skill in a way which will ensure a better understanding of his approach to filmmaking and not to brand Tarantino's work as formulaic. In order to achieve an extensive overview of Tarantino's movie career and create a valid argument, the main analysis of the film material within the thesis revolves around two scenes of violence coming from two different films, directed by Tarantino during different eras of his film production milieu: Pulp Fiction and Inglourious Basterds. The two films differ in many ways: setting, scenery, motifs, historical background, symbolism, time of release, etc. Their characteristics stand in strong contrast and that is why I believe their comparison and analysis should be very helpful in showing a pattern used by Tarantino to produce on-screen violence based on dark humor, excess and the aestheticization of violence - regardless of the larger context or plot. The thesis is also supposed to provide significant insight in the meticulous planning that goes on behind the creation of violent scenes in Tarantino's films, the techniques he uses and the recognizable stylistic pattern of his movies.

In 1967 H. Rap Brown, chairman of the SNCC declared violence an integral part of the American ethos. A necessary opposition, an addictive antagonism, taught alongside the American Dream. Denied in traditional narrative, this seclusive obsession reveals itself in American Noir. By rejecting the overt fantasy of conventional Hollywood, Noir strives to depict something closer to reality: bleak existence. While film noir emerged from a period of post-war anxiety, narrating visually a descent into political and economic turmoil; its progeny, neo-noir, reflects a postmodern cynicism; a world which, devoid of humanity is rendered meaningless. American Noir then, as an object of cultural capital is an expression of deep societal nihilism, its use of violence an exaggerated reflection of the desperate horrors of existence. This violence is fetishized by media culture, betraying a masochism which seeks to glorify and desensitize. This ritualistic and hypersexualised addiction refuses complicity, inciting instead a complex and troubling relationship with pleasure. David Lynch explores the complexities of this sinister affiliation in Mulholland Drive. Twisting fantasy and desire together, violence precipitates pleasure, which then precipitates further violence; this cycle exemplary of American Noir. The film confuses pleasure and violence, which contort and copulate together to reveal both gratification and horror; playing off one another in a hypnotic dance of pain and eroticism, lack and desire, destruction and final disparity. American Noir thus exists as a self-reflexive nihilistic device for exploring a masochistic fascination with pleasure and violence.

This article presents Tarantino's Inglourious Basterds as a 'masterpiece' of meta-cinema that satirizes its audience(s) directly. The particular focus is how Tarantino creates and leverages a network of analogical relations and/or resonances to reflect and/or fold spectators back upon themselves and make us (the viewing audience) the butt or (Private) 'Butz' of his joke. This article also argues that Tarantino attacks and manipulates the viewer's sensibilities and perceptions with a view to affording them a shock of recognition − exposing audiences to their enjoyment (and, by extension , complicity in the co-production) of on-screen violence and their willingness to be manipulated by the director into a position that parallels that of the in-film Nazi audience − and, thereby enabling spectators to see themselves and their relations to film more clearly.

The violence in Pulp Fiction is characterized as hyper-real violence and Quentin Tarantino plays with the audience's feeling of suspense and relief in order to make the violence comical and entertaining. This paper will, with a neo-formalistic approach, look at the dialogue between the different movie characters, mise-en-scéne, cinematography and editing techniques to establish how the violent scenes lose their seriousness. Different aspects of movie violence will be examined to determine how Pulp Fiction ends up giving its audience more laughs than terrors. This paper focuses on two different situations: Jules (Samuel L. Jackson) and

“There’s a nigger on the horse” marks the beginning of Quentin Tarantino’s most recent violation of filmic style, language, and good taste other directors might not get by with. As offensive as language and images might be, the film’s mise-en-scène, its language, and its dialogue express that the encounter between bodies is always shaped by a politics of bodies in/out of place and ideas about whose bodies might inhabit which spaces or what spaces are off-limits for whose bodies. This paper, then, draws on Jean-Claude Kaufmann's study of topless beach culture to analyze the body politics in Tarantino's Django Unchained.

In this paper I present an overview of the authorial theory as it was articulated by Peter Wollen and Andrew Sarris, followed by an analysis of Quentin Tarantino's feature films, in relation to the concept of auteur. The purpose of this paper is to see to what extent is Quentin Tarantino an auteur.

Too often dismissed as nothing more than ‘trash cinema’, exploitation films have become both earnestly appreciated cult objects and home video items that are more accessible than ever. In this wide-ranging new study, David Church explores how the history of drive-in theatres and urban grind houses has descended to the home video formats that keep these lurid movies fondly alive today.

Arguing for the importance of cultural memory in contemporary fan practices, Church focuses on both the re-release of archival exploitation films on DVD and the recent cycle of ‘retrosploitation’ films like Grindhouse, Machete, Viva, The Devil’s Rejects, and Black Dynamite. At a time when older ideas of subcultural belonging have become increasingly subject to nostalgia, Grindhouse Nostalgia presents an indispensable study of exploitation cinema’s continuing allure, and is a bold contribution to our understanding of fandom, taste politics, film distribution, and home video.

Key Features:

The first in-depth critical examination of the recent and ongoing "retrosploitation" cycle

Expands a growing body of research on the importance of home video as containers of material history

Unites cultural memory studies and fan studies in productive ways for understanding a broad range of fan investments

Restores questions of affect and non-ironic reception to understandings of exploitation cinema’s continuing appeal


TABLE OF CONTENTS

List of Figures
Acknowledgments
Introduction
Chapter 1: A Drive-in Theatre of the Mind: Nostalgic Populism and the Déclassé Video Object
Chapter 2: 42nd Street Forever? Constructing 'Grindhouse Cinema' from Exhibition to Genre to Transmedia Concept
Chapter 3: Paratexts, Pastiche, and the Direct-to-Video Aesthetic: Toward a Retrosploitation Mediascape
Chapter 4: Dressed to Regress? The Retributive Politics of the Retrosploitation Pastiche
Conclusion
Selected Filmography and Videography of Retrosploitation Media
Selected Bibliography
Index

In this essay I use theories of counterfactual history and cinematic affect to argue that, while we often think of narrative cinema as being purely fictional, in some senses it might not be. I argue that cinema may function as something of a 'counterfactual machine' that challenges the traditional boundary between reality and fiction, precisely because cinema can have real and physical effects on us. By looking closely at Inglourious Basterds, I also argue that Tarantino's film is in many respects aware of the power of cinema in a physical and a cultural sense, and that the film deliberately explores how cinema can and does posit its own reality.

This provocative and unique anthology analyzes Quentin Tarantino's controversial Inglourious Basterds in the contexts of cinema, cultural, gender, and historical studies. The film and its ideology is dissected by a range of scholars and writers who take on the director's manipulation of metacinema, Nazisploitation, ethnic stereotyping, gender roles, allohistoricism, geopolitics, philosophy, language, and memory. - See more at: http://www.bloomsbury.com/us/quentin-tarantinos-inglourious-basterds-9781441138217/#sthash.FQQ9artA.dpuf

The aim of this monograph is the attempt of reading the poem Moscow-Petushki by Venedikt Erofeev and the film Pulp Fiction by Quentin Tarantino using the comparative approach, in which we go beyond the range of factual relationships, historical influences or similarities functioning in the structure of the presented world. The purpose of the book is to see both works of art from the angle of the montage theory of Sergei Eisenstein – the outstanding and highly regarded Russian director and film philosopher – which means studying cultural phenomena in their mutual intertextual relationships. The book focuses on the interpretation of the selected Tarantino’s and Erofeev’s texts of culture, in which the subject of the city, the search for the concept of the body at the end of 20th century and the problem of addictions constitute the dominant thematic issues. The monograph also offers the insight into the nature of the phenomenon of postmodernism and treats Eisenstein’s philosophy as the specific type of anticipation of postmodern tendencies in cinematography.

I commence my thesis by introducing the Western genre and American Western cinema  before the early 1960s, and carry on with Italo-Westerns, also called „Spaghetti” Westerns,  produced in Italy. Here I mention the beginnings of the new style, its differences from Hollywood predecessors, and its main characteristics. Among the most influential movies of the genre I review the unique life achievement of Sergio Leone in Westerns, analysing his summarizing works, Once Upon a Time in the West  (1968) and My Name is Nobody (1973). After mentioning the effect of Italo-Western on the genre’s American continuity, by using the concepts of metacinema and Meta-Western, through contemporary popular cinema I research how the Italo-Western survives. The attitude of George Lucas, Gore Verbinski, Robert Rodriguez and Quentin Tarantino may vary towards auteurism, self-reflexivity, and postmodernism, however, they are conscious directors of metacinema. They disguise the characteristics of the Western (and Italo-Western in particular) in popular entertainment through their work, thus canonising it. In the conclusion I overview this process, and how the Classical Western is transforming and seeking its way in the 21st century.

The essay (final draft) begins by exploring the classical concepts of narratology, before proceeding to consider to what extent such concepts apply to audiovisual narrative. The essay then critically examines the relevance of narratology to the study of audiovisual narrative in translation, and discusses a variety of narratological insights that bear on narratives conveyed across media, subtitling, dubbing and audio description: action, plot, narration, description, narrativity, focalization and characterization--with special reference to 'Pulp Fiction'.

Comedy is a cross-media genre which employs humour as a driving force. A comedy film’s goal is to produce laughter from the audience through entertaining stories and characters. The leading theories of that which engender comic amusement are: Superiority theory, the incongruity theory, the disparagement theory, the relief theory and the dispositional theory. These five will be accounted for along with theories such as pattern recognition which needs mentioning but is not considered essential for the aim of this paper. Furthermore, the use of violence as a comedic tool in film will be discussed, including three different types of violence as presented by Henry Giroux. The paper seeks to explore Tarantino’s use of the comedy theories and those theories concerning what Giroux defines as guilt free humour, in order to see how Tarantino evokes a comical response from his audience. Does the humour work despite or because of the violence? This paper focuses its analysis on The Breakfast Scene in Pulp Fiction (1994) and The Bride’s Fight with the Crazy 88 in Kill Bill: Volume 1 (2003).

With a central problematic concerning the role of fiction in relation to reality and a provocative falsification of the historical events of the Nazi occupation of France during World War II, Quentin Tarantino's Inglourious Basterds (2009) contributes importantly to analyses of the relation between perceptions of the image and conceptions of the real. Tarantino's film, as we will see, is highly invested in the role of vision both in the metacinematic sense of its blatant self-referentiality and as a thematic for the narrative and the mise-en-scene itself. From the very opening scene, in which the daughter of a French dairy farmer hears an approaching Nazi vehicle and lifts the corner of the bed sheet she is hanging up to dry and thereby invites both herself and the audience to see the Nazi intrusion into her reality, to the final scene in which two of the protagonists look straight into the camera, Tarantino's film may be understood as an invitation to look at seeing itself. Just as Tarantino, as always, paints a cinematic universe highly invested in its own role as such, where the importance of appearances, roles, acting, and clichés are put on center stage, his view of the Second World War too is staged as a battle of appearances. A film about war, it also portrays this war as a war of seeing. It is through images, the film seems to suggest, that agency can be located. Including the screen as a central factor in its cinematic and metacinematic configurations of events, the film presents the screen as a surface for projection, but also for concealment and division. As such, the screen also becomes the key to seeing, to surviving, and to remembering. Testing a more common reading of Tarantino's work in terms of Baudrillardian hyperreality against Virilian and Deleuzian conceptions of the relation between image and reality, this essay suggests that Inglourious Basterds helps testing the usefulness of these different theoretical perspectives for analyzing how agency is configured in contemporary visual culture.

The content (proposed as naturalness, originality, childlikeness, and authenticity) and mechanism (as an infinite rotation of maintaining, searching, re-/finding) of genuineness are described in order to firstly apply the phenomenon to the field of artistic and aesthetic experiences, and secondly to expound the interplay of style, taste, and genuineness. Two examples are drawn to illustrate the stated concepts, namely the genuinizing strategy involved in the movies of Quentin Tarantino, as well as the fashion values of Garbiele Strehle.

Este libro expone el cine de Quentin Tarantino haciendo uso de la violencia como hilo conductor. El autor argumenta que Tarantino hace estética a la violencia al separarla de la realidad y separándola de sus consecuencias reales. Al convertirla en algo evidentemente ficticio, permite que los espectadores la disfrutemos estéticamente.

Offensive and taboo exchanges are very recurrent in Quentin Tarantino's films, whose screenplays are full of characters who swear, curse and make ample use of taboo terms. The way subtitlers deal with such terms can cause a greater impact on the audience than oral speech . This paper aims to provide some insights, from a Descriptive Translation Studies (DTS) approach, into the subtitling of offensive and taboo language into Spanish by examining Tarantino's first blockbuster, Reservoir Dogs (1992), and making use of a multistrategy design, which enhances triangulation . The ultimate goal is to shed some light on the way this film has been subtitled in Spain, by assessing whether the dialogue exchanges have been rendered in the subtitles in a close way to the source text or, by contrast, some type of censorship (i.e. ideological manipulation) may have taken place. key words: Interlingual subtitling, offensive and taboo language, translation strategies, multi-strategy design, ideological manipulation.

Attraverso strumenti filosofici di interpretazione, il presente saggio indaga le ragioni del successo del cinema di Quentin Tarantino, concentrandosi sulla complessità teorica che categorie come quelle di simulacro, violenza, citazione e vendetta, assumono nel suo immaginario e nell'odierna produzione massmediale. Partendo da un'analisi attenta e puntuale di alcuni episodi significativi del cinema commerciale degli ultimi anni, per arrivare a considerazioni generali relative al ruolo e al valore che il cinema assume nella nostra epoca, Alessandro Alfieri propone un'analisi estetico-filosofica accurata di alcune delle più celebri pellicole del regista americano. "Kill Bill", "Death Proof", "Inglourious Basterds" e "Django Unchained" mettono in scena infatti il passaggio da un'estetica simulacrale all'irruzione della storia nella narrazione, ovvero l'approdo a una dimensione morale e critica in grado di liberare il regista dall'idea diffusa di essere solamente un cavaliere della postmodernità.

This chapter explores representations of handicapped women warriors in the neo-exploitation films of Robert Rodriguez and Quentin Tarantino. Analyzing characters that are designed as good-looking yet bare-knuckle female fighters marked by a visible disability (Elle Driver from Tarantino’s two-part Kill Bill, Shé from Rodriguez’s Machete films, and Cherry Darling from Rodriguez’s Planet Terror), the study shows how the two filmmakers tapped into the image of the maimed Amazon, a motif of representation that transcends national attributions as well as complicates notions of feminine autonomy and patriarchal hegemony. The chapter draws on theories from feminist film studies and disability studies to reveal both the potentials as well as pitfalls of signifying female empowerment through representations of disability in film aesthetics typically associated with male authority.

Resumen: La manera en la que el lenguaje ofensivo y tabú se subtitula representa una práctica delicada y polémica pues este lenguaje funciona como vehículo léxico que aporta información sobre la personalidad, clase social y entorno de los personajes, pudiendo provocar una reacción fuerte en la audiencia . Se podría decir que la omisión de términos ofensivos y tabú implica la pérdida de la función comunicativa de los mismos. Partiendo de un enfoque basado en los Estudios Descriptivos de Traducción, los objetivos de este artículo se centran en arrojar luz sobre la forma en la que el filme Pulp Fiction (Quentin Tarantino, 1994) se subtituló a español europeo, explorando así pues: (1) las estrategias traductológicas empleadas por el subtitulador; (2) la manera en la que los diálogos ofensivos/tabú fueron transferidos a la pantalla; (3) la posible influencia técnica de aquellos casos en los que la carga ofensiva y tabú queda neutralizada u omitida.

Este artículo pretende mostrar que si comparamos la violencia tal como es representada por Martin Scorsese y por Quentin Tarantino nos daremos cuenta de que estas son de naturalezas distintas, pues que en el primer caso la aproximación a la violencia es ética, en el caso de Tarantino es estética.

La imagen-espejo posmoderna es una forma de representación autorreferencial que encuentra su origen remoto en el pop art y el arte conceptual, y cuyo influjo es esencial en el cine de fin de siglo: intertextualidad, apropiacionismo, cultura de masas, fractura del relato, desmaterializacion del personaje. Como reaccion a esta imagen-espejo, una serie de movimientos cinematográficos coetaneos tratan de recuperar la conexión con la imagen-realidad. Proponemos una lectura del cine contemporáneo como un debate entre estos dos modos de representacion, paralelo al desarrollo de la sociedad de la imagen y los formatos digitales. |

«Mirror image: iconicism and reality in late cinema». Postmodern mirror-image, as a self-referential structure of representation,  finds its roots in pop-art and conceptual art. It has deeply influenced late cinema: intertextuality, appropriationism, mass culture, broken narrative and disintegrated personality. In opposition to this mirror-image cinema, coetaneous films are struggling to restore the conection between image and reality. This paper offers a reading of contemporary cinema as a battlefield where debate on representation comes to be staged, while the society of spectacle and digital formats expand across the world.