The Style Of Quentin Tarantino Film Studies Essay

The Style Of Quentin Tarantino Film Studies Essay   Quentin Tarantino has his own distinctive style that mirrors his quirky vision of the universe. From the early Reservoir Dogs   to the stylish Pulp Fiction, Tarantino has challenged both viewers and the movie industry to look at the medium in a new way. His 2009 effort, the ultra-violent war film Inglorious Basterds, is a solid hit and every bit a Tarantino film. This paper discusses the film in general as well as its cinematography and editing. Discussion            Tarantino is a   director known for his love of film in general. He is knowledgeable about the medium and enjoys paying homage to it by sometimes filming scenes in a way that resembles works by other directors; or by putting a great many pop references in his film. This makes his films very hip, but it can also date them. However, because this film is set in a specific time and place-occupied France in 1944-these are quibbles.            Tarantino is also known for telling several stories simultaneously and bringing the threads together at the last moment to make a coherent whole. This is the structure of Pulp Fiction, in which three separate stories are told out of order: characters that are killed in one story show up later in the film, because that part of their story hasnt been told yet. At times its best to just sit back and let Tarantino do his thing and sort it out later.            Inglourious Basterds is just such a film: there are possibly three stories running simultaneously: the story of the Nazi Colonel Hans Landa and his hunt for Jews (Christoph Waltz); the Basterds themselves, led by Lt. Aldo Raine (Brad Pitt); and the Jewish girl Shoshanna Dreyfuss (Mà ©lanie Laurent), who works in the cinema that will be the setting for the films explosive (literally) climax. Critics are singling out Waltzs diabolical, cruel, witty, charming and perverse Colonel Landa as the best thing in the film; he won the Oscar as Best Supporting Actor for his work, along with almost every other award its possible for an actor to receive. That raises some unpleasant questions: Waltzs character is the representative of possibly the most despicable regime ever to disgrace humanity, so what does that say about audiences who find him attractive and funny? Landa becomes a sort of guilty pleasure, as well as an object lesson in the fact that evil can sometimes wear a very attractive face: There is nothing more disturbing than finding something commendable in a character you want so badly to condemn (Meadows).            The film is simple: Raines group of commandos has been dropped into occupied France with only one object: to kill Nazis. They do so, often with a baseball bat or other suitably unpleasant means, and scalp them (Tarantino). They also have a penchant for carving swastikas into their victims foreheads and their gruesome tactics have unsettled Nazi officers all the way up to Hitler.            The film has surprised   some audiences by its length and others because for a war film, it is surprisingly non-violent; the violence is extreme and gruesome but sparse and contained within a few set pieces. The rest of the film contains a lot of dialogue, which is a hallmark of Tarantinos work. He is in love with dialogue; he likes to explore human relationships and does so by letting his character literally speaks for themselves. People who complain that theres no enough action in the film seem to be missing the point. Berardinelli notes that the long dialogue scenes are merely priming the pump for the action that follows: With every sentence, the tension mounts. Tarantino uses these sequences to prime the audience, teasing them until the suspense is nearly unbearable, then releasing it in one explosive burst. The films editing includes title cards that identify each scene, an old fashioned technique that some critics like while others denigrate. Its the same technique that silent films pioneered, and it has the effect of making the film feel very literary, almost as if the audience has to read it like a book rather than watching it.            The cinematographer on the film is Robert Richardson, who was director of photography for Tarantino on both Kill Bill films; he has also worked on films like The Aviator and A Few Good Men as well as The Horse Whisperer, Casino and Snow Falling on Cedars   (MacGregor). If these films have anything in common, its that they have nothing in common, but in each case Richardson has brought to life their [the directors] most grandiose aspirations in a way that is unrivaled and incomparable (Ebenezer).            In this film, numerous critics have pointed to the scene which introduces Colonel Landa as a perfect example of Richardsons gifted cinematography; he works magic with the lighting and framing here as he does throughout the film (MacGregor). In this scene, Landa is questioning dairy farmer Perrier LaPadite, who is suspected of harboring Jews; as he continues to question the farmer, the camera circles the table moving closer and closer, as if it is tying up the farmer in invisible cords (MacGregor). When Landa orders his men to shoot through the floor, killing the Jews he knows are hidden there, its almost a relief because the tension is so high its unbearable. This is Richardsons skill; and it is on display throughout the film. The structure of the scene of course is Tarantinos; it is his direction. But Richardson has the skill to shoot it the way Tarantino wants it shot, so that it brings his vision to life. Richardsons use of color is extraordinary; for instance, in the scene where Landa comes to the farmhouse, the day is beautiful, clear and sunny; the sky is blue and birds are singing. And into the midst of this idyllic scene comes a monster. The juxtaposition of Landa with the beauty of his surroundings, especially as he then orders the murder of the hidden Jews, is brilliant. It reminds viewers that things are not what they seem, and that the potential for violence is ever-present. It can be argued that the United States today is one of the most violent societies on earth, but the threat of drive-bys, gang wars and shootings cannot compare to the terror of living under the Nazi occupation, where punishment for the slightest infraction was swift and brutal. When Landa pops up in the middle of the idyll ic scene, the day is ruined. Much of the rest of the cinematography is muted, sometimes suggesting old newsreels with washed out colors. This could indicate the age of Europe, or the draining effect of war; it makes Europe, which is beautiful, cold and harsh, in keeping with the mission the Basterds have undertaken. The New York Times also mentions the cinematography, though it is less complimentary than most to the movie overall. Dargis writes that whether or not a viewer likes the film has a lot to do with whether he or she can just groove on Tarantinos cinematic style, which includes his exuberant framing  and staging, his swooping crane shots, postmodern flourishes (Samuel L. Jackson in voice-over explaining the combustibility of nitrate prints) and gorgeously saturated colors, one velvety red in particular (Dargis). With regard to the films much-discussed opening scene in the farmhouse, Dargis calls it a marvel of choreographed camera movement and tightly coordinated performances. When the scene moves ins ide the building, Tarantino provides another homage: à ¢Ã¢â€š ¬Ã‚ ¦the German soldiers outside are positioned within one of the windows, a shot that recalls the framing of an image in Monte Hellmans 1971 cult classic, Two-Lane Blacktop' (Dargis). Tarantino also gives a nod to a great Hollywood character actor of the 1950s, Aldo Ray, by naming his main character Also Raine; Also Rays widow served as a casting director on this film (Dargis). (For a delightful look at Aldo Ray, look at Were No Angels the original starring Ray, Humphrey Bogart and Peter Ustinov as three Devils Island escapees who are neither as tough nor as evil as they pretend to be.) As for the rest of the film, however, Dargis is less enthusiastic. She notes that the film is actually five set pieces, each organized around specific bits of business and conversations that increasingly converge (Dargis). The first chapter introduced Colonel Landa; the second brings in the Basterds while the third brings Shoshanna together with Joseph Gobbels (Dargis). The fourth chapter deals with the plot to kill Hitler and the final chapter is the destruction of the fire and the death of many of the characters (Dargis). While all this works, Dargis has trouble with Tarantinos use of slow dialogue scenes and she is particularly disquieted by Colonel Landa, whom she describes as charming and seductive (Dargis). A man who is the tool of a regime as repellant as National Socialism should have none of these qualities. And yet Landa has no equal in the film; he owns it, and that makes for some uneasy viewing (Dargis). Conclusion            Inglourious Basterds would be uncharacteristic for any other director but for Tarantino its merely the latest in a string of films that glorify brutality and make heroes out of the most unlikely people: hit men and Nazi colonels. Its also full of Tarantino trademarks: long dialogue scenes that lead up to shot, explosive action sequences; homage to other films; and a never-ending river of blood. He has also, as usual, played with film itself, using title cards that hark back to the days of silent films, and (mercifully!) having his German characters speak German, his Italians speak Italian, his Frenchmen speak French and so on. This means he has also subtitled some of the scenes, but again, this is a director who truly seems to love playing with the medium and all its capabilities. Whether a viewer will enjoy the film or not particular when it contains scenes of soldiers being beaten to death with a baseball bat and other horrific violence probably depends on whet her or not he or she is a Tarantino fan. If so, theyll know what to expect; if not, it can be a bit much. But all in all, the film has proven to be a solid success and another hit for a quirky filmmaker who breaks all the rules.

Political and Economic Changes After the War of 1812 Essay

Andrew Jackson looked on toward a new democracy after his victory at New Orleans. The changes in this time period, after the war of 1812, would send America into a troubled future. The Post war political and economic changes would prove to be another stepping stone in America’s evolving democracy. The political changes after the War of 1812 would redefine America’s newly founded Democracy and contribute to a greater national government. Andrew Jackson gained America’s respect after his victory at New Orleans and was later elected President in 1829. Jackson and his cabinet invested power into an powerful Executive Branch. The Jackson democrats tended to exaggerate the puissance of the lower class poor while decreasing the influence of the rich and potent and aristocracy. Andrew Jackson abolished restrictions on voting and increased active participation in the government by the lower and middle classes. Jackson also made the government more directly responsible to the people without the use of federally funded improvements. After the war of 1812, the federal government not only grew domestically but also internationally. The Monroe Doctrine shifted America’s foreign policy. The Monroe Doctrine stated that European nations may not interfere or influence nations or colonies in the Western Hemisphere. Although at the time America lacked the military capacity to enforce this Doctrine, this policy was a major shift away from George Washington’s policy of neutrality. The U.S. continued its policy of non involvement in European wars, but Europe now was expected to stay away from the Western Hemisphere. The U.S. continued to enforce this Doctrine to this day, with perhaps the most famous example being President Kennedy’s Cuban Blockade. After the War of 1812, America’s nationalism and unification began to fade in the face of sectionalism. The North and the South soon began to dispute over controversial issues. The South depended on an agricultural, slave based economy. The North saw slavery as immoral. This issue split the South and North creating tension and strong sectionalism. Protective tariffs also divided the country. The North, whose industry was based on manufacturing and trade, produced products more expensive than Europe’s. In order to compete with Europe, the North wished to institute protective tariffs as an incentive to buy Northern products. They desired to purchase cheaper European products. Also, the South feared Europe would tax Southern agricultural products sold to  European factories. The South saw the tariff as a way for the North to profit while the South to bore the burden. Economic changes also occurred after the War of 1812. Eli Whitney introduced the cotton gin, which enabled mass production of cotton, and led to an increased dependence by the South on a slave based Cotton society. The South’s economic system became so dependant on slavery, that by the 1850’s one out of every three persons in the South was a slave. The North also went through an economic change. When the British blockaded the US during the War of 1812, wealthy Northern men invested in new technology. The North soon entered the industrial age after the introduction of interchangeable parts by Eli Whitney. The North began manufacturing products such as cloth and textile. In order produce their goods workers were needed. Young girls soon filled these openings delighted to be able to support themselves and to be around other people their age. In addition, the influence of banks sparked economic growth. A second national bank was introduced at this time providing even more cash for entrepreneurs and speculators. In conclusion, the years after the War of 1812 saw a redefinition of America’s democracy. Jacksonian Democracy expanded the powers of the Executive Branch, decreased the power of aristocracy, and increased popular participation in the government. The economic changes led to sectional crisis between the North and South which would prove to be a role and reoccurring theme throughout the 1800’s. The Industrial Revolution would enable America to survive and thrive without Europe, while the Monroe Doctrine would lead us to eventually defy and overwhelm European influence in the Western Hemisphere. The years after the War of 1812 would see a stronger, and yet, paradoxically more divided nation.

Environmental Hazards

Environmental Hazards Environmental hazards consist of cultural, biological, physical, and chemical hazards (Wright, Boorse, 2014). With a wide array of other hazards in each category there is plenty to choose from and makes one wonder why we continue to survive among so many potential hazards. I will be focusing on one type of hazard from each category to show what threats there are and a way to combat the threat. One example of a cultural hazard is smoking which accounts for over 400,000 deaths each year (Wright, Boorse, 2014).Since smoking is a choice you have control over using It or not. As we progress in life and realize that some choices Ilke smoking, affect more than just the smoker. Laws have come into play to limit the access to cigarettes for minors as well as where you are able to smoke. The website no- smoke. org offers detailed information on laws, bands, and regulations in place to help lower and hopefully eliminate smoking hazards in the future. While smoking is alway s a choice some hazard such as biological cannot always be avoided.As technology progresses we are better equipped to deal with bacteria and viruses. In spite of these advances In medicine and technology, â€Å"pathogenic bacteria, ungi, viruses, protozoan, and worms continue to plague every society† (Wright, Boorse, 2014). One such problem responsible for over 3 million deaths in 2008 alone Is acute respiratory infections. † (Wright. Boorse, 2014) according to Christine DIMarla and Matthew Solan â€Å"the immune system of children and older adults are more at risk of getting an acute respiratory Infection† (DIMarla & Solan, 2012).They continue to say that most infections are not treatable, but prevention in the form of hand washing, covering your sneezes in your arm or tissue, and avoiding touching your face can be beneficial (DiMarla & Solan, 2012). Some environmental hazards cant be controlled or prevented and the best example of that comes In the form of phys ical hazards. Such hazards come In the form of ‘natural disasters' including: hurricanes, tornadoes, floods, forest fires, earthquakes, landslides, and volcanic eruptions (Wright, Boorse 2014).

The Lebanon And Israel War - 2160 Words

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