ISSN: 14742756
First published in 2002
2 issues per volume
Volume 13 Issue 2
Cover Date: September 2015
Inglourious Basterds: Satirizing the spectator and revealing the ‘Nazi’ within
purchase PDF
Authors:  Andrew Chrystall 
DOI: 10.1386/ncin.13.2.153_1

Tarantino,Inglourious Basterds,satire,analogy,metafilm,spectatorship

This article presents Tarantino’s Inglourious Basterds as a ‘masterpiece’ of metacinema 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.
Your tags: Please login or register if you don't have a user account.
Latest news
14th December 2017
Philosophy of Photography: The Warburg Haus: Apparatus, Inscription, Data, Speculation, (special double issue), Volume 8. 1&2, 2017.
Read more Read more
14th December 2017
Interview with Camilla Reestorff author of Culture War
Read more Read more
14th December 2017
CFP for the Journal of Science & Popular Culture 1.2 closing soon!
Read more Read more


The Big Picture Magazine