Django Unchained (Quentin Tarantino, 2012)
- Jeff
- Joined: Tue Nov 02, 2004 9:49 pm
- Location: Denver, CO
- feihong
- Joined: Thu Nov 04, 2004 12:20 pm
Re: Django Unchained (Quentin Tarantino, 2012)
It's really a nice drawing of a chain. Very retro.
Though the photo of the guys and the grass doesn't work as well for me.
Though the photo of the guys and the grass doesn't work as well for me.
- Dylan
- Joined: Tue Nov 02, 2004 9:28 pm
Re: Django Unchained (Quentin Tarantino, 2012)
Great poster! It reminds me of the Saul Bass design for The Human Factor
- kidc85
- Joined: Tue Jul 15, 2008 1:15 pm
Re: Django Unchained (Quentin Tarantino, 2012)
Although I find Tarantino hit-and-miss as a director his status as highly influential arbiter of taste makes him, for me, an invaluable figure in modern cinema. I know people who would never otherwise dream of watching a film that hasn't been released in the past two years go out and watch Castellari, Shaw Bros and Sonny Chiba, and so the idea that DU might inspire people to watch a spaghetti western that isn't called GBU is possibly more exciting than the film itself.
- Jeff
- Joined: Tue Nov 02, 2004 9:49 pm
- Location: Denver, CO
- mfunk9786
- Under Chris' Protection
- Joined: Fri May 16, 2008 4:43 pm
- Location: Philadelphia, PA
Re: Django Unchained (Quentin Tarantino, 2012)
Look at that coat!
- FerdinandGriffon
- Joined: Wed Nov 26, 2008 11:16 am
Re: Django Unchained (Quentin Tarantino, 2012)
Which one? I lean toward's Foxx's and DiCaprio's myself.
- mfunk9786
- Under Chris' Protection
- Joined: Fri May 16, 2008 4:43 pm
- Location: Philadelphia, PA
Re: Django Unchained (Quentin Tarantino, 2012)
Do you really have to ask which one?
-
- Joined: Sat Sep 22, 2007 2:00 am
Re: Django Unchained (Quentin Tarantino, 2012)
DiCaprio's seems to be a smoking jacket...
- Jeff
- Joined: Tue Nov 02, 2004 9:49 pm
- Location: Denver, CO
Re: Django Unchained (Quentin Tarantino, 2012)
<rimshot!>Robin Davies wrote:DiCaprio's seems to be a smoking jacket...
- flyonthewall2983
- Joined: Mon Jun 27, 2005 3:31 pm
- Location: Indiana
- Contact:
Re: Django Unchained (Quentin Tarantino, 2012)
The way Foxx describes the story and the relationship between the two characters, it sounds like it's going to be a bit more somber in tone than expected.
- joshua
- Joined: Sat Jul 11, 2009 5:11 pm
Re: Django Unchained (Quentin Tarantino, 2012)
Nice one. It took me a minute to catch the obvious.Jeff wrote:Robin Davies wrote:
DiCaprio's seems to be a smoking jacket...
<rimshot!>
As a side note, it look like Tarantino might be jumping on the hammer-violence train. The hammer sure has become the weapon of choice lately.
-
- Joined: Wed Jan 20, 2010 12:09 am
Re: Django Unchained (Quentin Tarantino, 2012)
Ah yes, the hammer-violence sub genre.joshua wrote:Nice one. It took me a minute to catch the obvious.Jeff wrote:Robin Davies wrote:
DiCaprio's seems to be a smoking jacket...
<rimshot!>
As a side note, it look like Tarantino might be jumping on the hammer-violence train. The hammer sure has become the weapon of choice lately.
- knives
- Joined: Sat Sep 06, 2008 6:49 pm
Re: Django Unchained (Quentin Tarantino, 2012)
If nothing else this promises to be a very pretty film.
- tarpilot
- Joined: Thu Jan 20, 2011 10:48 am
Re: Django Unchained (Quentin Tarantino, 2012)
Imagine my delight when I discovered what is perhaps the genre's genesis in Griffith's The Girl and Her Trust, in which the protagonist uses a hammer to smash a bullet through a keyhole to scare off some robbers!Zot! wrote:[Ah yes, the hammer-violence sub genre.
- whaleallright
- Joined: Sun Sep 25, 2005 12:56 am
Re: Django Unchained (Quentin Tarantino, 2012)
This film is bound to launch a thousand scholarly papers and online think pieces about the representation of American slavery (especially in terms of racialized sexuality), the way Mandingo should have done. I'm both looking forward to it and a little squeamish.
- feihong
- Joined: Thu Nov 04, 2004 12:20 pm
Re: Django Unchained (Quentin Tarantino, 2012)
You are undoubtedly going to be proven right. It's kind of a shame, since I don't think Tarantino's films are generally about what most people think they're about anyway. A lot of the outrageousness of them usually seems to be window-dressing, disguising some more interesting use of cinema.
- Cold Bishop
- Joined: Tue May 30, 2006 9:45 pm
- Location: Portland, OR
Re: Django Unchained (Quentin Tarantino, 2012)
I, for one, think this has the potential to be his best film. He may finally be forced away from the (admittedly entertaining) navel-gazing that mark his usual films, which are mostly about his own love of movies.
- Andre Jurieu
- Joined: Tue Nov 02, 2004 3:38 pm
- Location: Back in Milan (Ind.)
Re: Django Unchained (Quentin Tarantino, 2012)
I'm going to predict that you will be disappointed because he can't avoid that no matter how much he tries (and I don't really think we would put effort into avoiding that tendency).Cold Bishop wrote:He may finally be forced away from the (admittedly entertaining) navel-gazing that mark his usual films, which are mostly about his own love of movies.
I also predict this film will regrettably spawn a lot of tiresomely repetitive discussion on whether or not Tarantino is allowed to use certain words and offer any perspective regarding the subject matter since he's an annoying, white, former video-store, film geek who has a limited scope of enthusiasm. That's not really much of a bold prediction considering that track has been on repeat for the last 15 years, or at least since Jackie Brown.
Finally, I predict I'll probably watch this on the opening day.
- mfunk9786
- Under Chris' Protection
- Joined: Fri May 16, 2008 4:43 pm
- Location: Philadelphia, PA
Re: Django Unchained (Quentin Tarantino, 2012)
I just like the guy's movies, it must be exhausting to put so much thought into their influences that you can't even enjoy them for what they are.
- matrixschmatrix
- Joined: Tue May 25, 2010 11:26 pm
Re: Django Unchained (Quentin Tarantino, 2012)
Haha, what they are is as often as not a dense collage of images and characters he's repurposed, though
- mfunk9786
- Under Chris' Protection
- Joined: Fri May 16, 2008 4:43 pm
- Location: Philadelphia, PA
Re: Django Unchained (Quentin Tarantino, 2012)
In a sharp, smart, entertaining way? Or just like a YouTube collage of old movie clips?
- Andre Jurieu
- Joined: Tue Nov 02, 2004 3:38 pm
- Location: Back in Milan (Ind.)
Re: Django Unchained (Quentin Tarantino, 2012)
I'm in agreement for the most-part. I do enjoy either noticing or being informed of some of his influences, but it's certainly not where I would focus my efforts when watching his work.mfunk9786 wrote:...it must be exhausting to put so much thought into their influences that you can't even enjoy them for what they are.
I'm not sure if that's a problem.matrixschmatrix wrote:Haha, what they are is as often as not a dense collage of images and characters he's repurposed, though
- knives
- Joined: Sat Sep 06, 2008 6:49 pm
Re: Django Unchained (Quentin Tarantino, 2012)
The problem though is how he utilizes those images without applying any purpose to them. We get that American Boy quote in Pulp Fiction because he like Scorsese and likes the image from that film, but it accomplishes nothing outside of what the original did without the emotional backing of the context. His films are simply mixtapes and are no different from those youtube clips in what they accomplish. At least with someone like Godard he's utilizing those quotations to make some sort of point, but Tarantino is free of ideas.
- Mr Sausage
- Joined: Wed Nov 03, 2004 9:02 pm
- Location: Canada
Re: Django Unchained (Quentin Tarantino, 2012)
But Tarantino isn't just passively displaying influence. He's making highly self-conscious allusions to other films. For a viewer not to follow up on that is, to me, like a reader not bothering to follow up on the allusions in Paradise Lost or a Nabokov novel or some other highly and deliberately allusive piece of work. The allusions are such an essential part of the texture of the thing, and each one is an invitation to follow up on what is being referred to.
Part of Tarantino's whole project lately is to show how essential and fundamental certain narratives and themes are to film by filming them with radically different modes of discourse that he's constantly shuffling through. At any one moment a single story can be told as a war film, a spaghetti western, a kung fu film, a samurai film, a neo-noir, an anime, ect. Amidst that jumble of different genre discourses we see what stays constant in the narrative and the thematic apparatus, and those constants end up grounding the network of allusion, quotation, and mimicry to the point where all the different genre styles from different countries and eras come to seem very much equivalent. As discourses, they all encompass each other and accomplish the same ends. This is what allows Tarantino to slip in his own originality, too, since the parts that remain constant amidst the jumble of styles get isolated, allowing Tarantino to alter them in knowing ways (knowing in the sense that, being in on the allusions, and being fed enough of them throughout the movie to be reminded of all the familiar tropes, we are made aware of when Tarantino suddenly goes against the grain in some blatant way and can appreciate that deliberate addition to the list of conceits).
This kind of filmmaking depends on the viewer being able to follow the texture of allusion. Obviously, some allusions are more on the surface than others (names of characters reflecting certain directors or other film characters), but even these allusions serve to indicate in some small way the kind of films and the kind of discourses necessary to understand the movie. Granted, there may be a certain amount of superfluous allusion, as Tarantino does not always exercise rigorous control in this and other areas. But the point remains.
To say that to expend effort in tracking down the allusions in a work built entirely around them is to miss the point of the movie is blatantly wrong. Whatever Tarantino's movies are, you are not going to find out by ignoring what they are so insistently bringing to your attention.
Part of Tarantino's whole project lately is to show how essential and fundamental certain narratives and themes are to film by filming them with radically different modes of discourse that he's constantly shuffling through. At any one moment a single story can be told as a war film, a spaghetti western, a kung fu film, a samurai film, a neo-noir, an anime, ect. Amidst that jumble of different genre discourses we see what stays constant in the narrative and the thematic apparatus, and those constants end up grounding the network of allusion, quotation, and mimicry to the point where all the different genre styles from different countries and eras come to seem very much equivalent. As discourses, they all encompass each other and accomplish the same ends. This is what allows Tarantino to slip in his own originality, too, since the parts that remain constant amidst the jumble of styles get isolated, allowing Tarantino to alter them in knowing ways (knowing in the sense that, being in on the allusions, and being fed enough of them throughout the movie to be reminded of all the familiar tropes, we are made aware of when Tarantino suddenly goes against the grain in some blatant way and can appreciate that deliberate addition to the list of conceits).
This kind of filmmaking depends on the viewer being able to follow the texture of allusion. Obviously, some allusions are more on the surface than others (names of characters reflecting certain directors or other film characters), but even these allusions serve to indicate in some small way the kind of films and the kind of discourses necessary to understand the movie. Granted, there may be a certain amount of superfluous allusion, as Tarantino does not always exercise rigorous control in this and other areas. But the point remains.
To say that to expend effort in tracking down the allusions in a work built entirely around them is to miss the point of the movie is blatantly wrong. Whatever Tarantino's movies are, you are not going to find out by ignoring what they are so insistently bringing to your attention.