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Quentin Tarantino and film theoryaes...

Pagello, Federico.

Quentin Tarantino and film theoryaesthetics and dialectics in late postmodernity /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Quentin Tarantino and film theoryby Federico Pagello.
Reminder of title:	aesthetics and dialectics in late postmodernity /
Author:	Pagello, Federico.
Published:	Cham :Springer International Publishing :2020.
Description:	viii, 210 p. :ill., digital ;24 cm.
Contained By:	Springer Nature eBook
Subject:	Postmodernism.
Online resource:	https://doi.org/10.1007/978-3-030-43819-7
ISBN:	9783030438197$q(electronic bk.)

Quentin Tarantino and film theoryaesthetics and dialectics in late postmodernity /
Pagello, Federico.

Quentin Tarantino and film theoryaesthetics and dialectics in late postmodernity /[electronic resource] :by Federico Pagello. - Cham :Springer International Publishing :2020. - viii, 210 p. :ill., digital ;24 cm.

Introduction - From High to Late Postmodernism -- Part One - The Aesthetics of Late Postmodernism -- Chapter 1 - Absolute Style -- Chapter 2: Space as History -- Chapter 3 - Time as Language -- Part Two - The Return of Dialectics -- Chapter 4 - Narrative and Subjectivity -- Chapter 5 - The "Vanishing Point" of Sexual Difference -- Chapter 6 - The Endless End of History -- Conclusion - Godard with Tarantino: Cinema as Enjoyment.

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 Zižek'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.

ISBN: 9783030438197$q(electronic bk.)

Standard No.: 10.1007/978-3-030-43819-7doiSubjects--Personal Names:

880594
Tarantino, Quentin
--Criticism and interpretation.Subjects--Topical Terms:

176632
Postmodernism.

LC Class. No.: PN1998.3.T37 / P344 2020

Dewey Class. No.: 791.430233092

Quentin Tarantino and film theoryaesthetics and dialectics in late postmodernity /
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505 0 $a Introduction - From High to Late Postmodernism -- Part One - The Aesthetics of Late Postmodernism -- Chapter 1 - Absolute Style -- Chapter 2: Space as History -- Chapter 3 - Time as Language -- Part Two - The Return of Dialectics -- Chapter 4 - Narrative and Subjectivity -- Chapter 5 - The "Vanishing Point" of Sexual Difference -- Chapter 6 - The Endless End of History -- Conclusion - Godard with Tarantino: Cinema as Enjoyment.
520 $a 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 Zižek'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.
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