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020 _a9780292772373
_qPDF
024 7 _a10.7560/768147
_2doi
035 _a(DE-B1597)9780292772373
035 _a(DE-B1597)586925
035 _a(OCoLC)1280944402
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aPN1998.3.T358
_bN36 2014eb
072 7 _aPER000000
_2bisacsh
082 0 4 _a791.4302/33092
_223
084 _aonline - DeGruyter
100 1 _aNama, Adilifu
_eautore
245 1 0 _aRace on the QT :
_bBlackness and the Films of Quentin Tarantino /
_cAdilifu Nama.
264 1 _aAustin :
_bUniversity of Texas Press,
_c[2021]
264 4 _c©2015
300 _a1 online resource (184 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tAcknowledgments --
_tIntroduction --
_tChapter 1. Reservoir Dogs and True Romance --
_tChapter 2. Pulp Fiction and Jackie Brown --
_tChapter 3. Kill Bill: Vol. 1, Kill Bill: Vol. 2, and Death Proof --
_tChapter 4. Inglourious Basterds and Django Unchained --
_tCoda --
_tNotes --
_tBibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aKnown for their violence and prolific profanity, including free use of the n-word, the films of Quentin Tarantino, like the director himself, chronically blurt out in polite company what is extremely problematic even when deliberated in private. Consequently, there is an uncomfortable and often awkward frankness associated with virtually all of Tarantino’s films, particularly when it comes to race and blackness. Yet beyond the debate over whether Tarantino is or is not racist is the fact that his films effectively articulate racial anxieties circulating in American society as they engage longstanding racial discourses and hint at emerging trends. This radical racial politics—always present in Tarantino’s films but kept very much on the quiet—is the subject of Race on the QT. Adilifu Nama concisely deconstructs and reassembles the racial dynamics woven into Reservoir Dogs, True Romance, Pulp Fiction, Jackie Brown, Kill Bill: Vol. 1, Kill Bill: Vol. 2, Death Proof, Inglourious Basterds, and Django Unchained, as they relate to historical and current racial issues in America. Nama’s eclectic fusion of cultural criticism and film analysis looks beyond the director’s personal racial attitudes and focuses on what Tarantino’s filmic body of work has said and is saying about race in America symbolically, metaphorically, literally, impolitely, cynically, sarcastically, crudely, controversially, and brilliantly.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)
650 0 _aAfrican Americans in motion pictures.
650 7 _aPERFORMING ARTS / General.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7560/768147
856 4 0 _uhttps://www.degruyter.com/isbn/9780292772373
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780292772373/original
942 _cEB
999 _c188549
_d188549