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Don't Copy!!

Created by Samantha Khatri and Josh Carlin
by

Samantha Khatri

on 3 December 2013

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Transcript of Don't Copy!!

Director Study
Quentin Tarantino
Semester Two Final Project

Josh Carlin and Samantha Khatri
Quentin Tarantino has many stylistic traits that make his films recognizably his. His use of violence, music, trademark themes and camera angles all contribute to the auteur theory.
Tarantino and Violence
Violence in Pulp Fiction
Violence in Inglourious Basterds
Quentin Tarantino is able to make the people laugh at even the most violent acts, but at the same time, he is able to take a different scene involving the same characters and make it honestly disturbing.
Tarantino’s blood, in all his films, provides an extreme portrayal of the violence taking place in his films. Think of scenes like the pub game turned bad in Inglorious Basterds, or the scene in Django Unchained where Django mercilessly kills the rest of the Candie household. The use of blood has become a stylistic choice for Tarantino. Blood is now a device that can make the viewer feel pain, distress, pity, and even pleasure.
Quote
Speaking at the British Academy of Film and Television, in the Telegraph, 2010:
“I feel like a conductor and the audience's feelings are my instruments. I will be like, 'Laugh, laugh, now be horrified'. When someone does that to me I've had a good time at the movies," said Tarantino.
Violence in Django Unchained
Music In Pulp Fiction
Music in Inglourious Basterds
Music in Django Unchained
Quentin Tarantino is a practiced expert on using the cinematic language in his own work to express his stimulating stories visually. Tarantino has specific trademark themes and technical camera movements that let us know we are watching a Tarantino film. They let us in on his unique personal directing style.
Quentin Tarantino's Trademark Themes and Camera Angles and Shots
Some of Tarantino’s trademark themes that are seen in Pulp Fiction, Inglourious Basterds, and Django Unchained.
•Feet
•Dance scene
•Torture scene
•Mexican Stand-off scene
Some of Tarantino's trademark camera angles and shots seen in Pulp Fiction, Inglorious Basterds, and Django Unchained.
•Mirror Shot
•Corpse Point of view shot
•Bird’s eye POV shot
Tarantino's Trademark Themes in Pulp Fiction
Dance scene: Mia and Vincent compete in the dance contest and when they return back home.
Torture scene: Butch and Marsellus are both tortured by Maynard and Zed.
Feet: Mia Wallace is often barefoot in the movie. Vincent and Jules talk about foot massages as well. Mia and Vincent also dance barefoot in her home.
Mexican stand-off scene: Vincent vs. Yolanda vs. Jules in the restaurant.
Tarantino's Trademark Themes in Inglourious Basterds
Feet: Col. Hans Landa questions Bridget Von Hammersmark and checks the bottom of her shoe.
Dance scene: The big party scene
Torture scene: Aldo tortures Bridget by sticking his finger in her gunshot wound.
Mexican stand-off scene: In the bar with the three soldiers, two of them have their guns pointed at another soldier while he is pointing his gun at one of them.
Tarantino's Trademark Themes in Django Unchained
Feet: Beginning opening scene the camera is focused on the slave’s feet to show that they are barefoot. Also at the beginning of the film Django takes the shoes of the dead slave trader.
Dance scene: Two black slaves are wrestling to the death with one another. This is not a dance scene but it is definitely reminiscent of a Tarantino dance scene.
Mexican stand-off scene: In the scene where Misère Candie outs Dr. Schultz and Django for not being interested in his fighters but just wanting to save Broomhilda Von Shaft. Misère Candie’s friend holds a gun to the back of Django’s and Dr. Schultz’s head while Misère Candie threatens to kill Hilda.
Torture scene: One of Misère Candie’s slave fighters ran away and as punishment Misère Candie tortures and kills him by using a pack of dogs. Another is after Django gives himself up and is hung upside down from the ceiling for who knows how long.
Diegetic sound in Pulp Fiction seems to always function in more than one way. The sounds often predict negative events and emulate the characters feelings and actions.
Mia and Vince Return
When Mia and Vincent return home they start to dance inside the house, and as they dance the house alarm goes off. The alarm is actually a warning for the real alarm that will call the police if the right code is not entered. Mia leans back to enter the code and throws herself back into Vincent, making them closer than ever. This act will be mirrored in the “adrenaline shot” scene, when Vincent enters the precise code, or adrenaline shot, and awakens Mia. As a result they become even closer than ever before. More simply, the alarm is like a warning that Vincent needs to leave before he tries anything with Mia, prompting the talk he has with himself in the mirror.
Tarantino's trademark camera angles and shots: Mirror Shot
Tarantino's trademark camera angles and shots: Corpse POV Shot
Tarantino's trademark camera angles and shots: Bird's Eye POV shot
Tarantino's use of violence is very minimalistic relative to his other works. It's known as the most tame movie in relation to blood, as the only scene with a large amount of blood in it is the two main characters cleaning, and Jackson's character refuses to shoot the criminal in the diner. It should also be noted, however, that Pulp Fiction tends to be brutal in a different kind of way, an example of this would be the drug overdose and adrenaline shot scene and the torture scene.
Django can be largely considered a classic Tarantino movie. The violence in Django Unchained can be summarized as brutal, colorful, and versatile as Tarantino was sure to touch mostly all of the main brutalities seen in horrible movies; such as DiCaprio's infamous unscripted bloody hand scene.
Despite the song in the opening sequence of the movie, specifically written for it's predecessor by Luis Bacalov with a classic western feel, Django Unchained tends to follow The Great Gatsby. Most of the music is western interpretations of more modern songs to show the similarities in race issues and how our two time periods relate to one another.
Corpse POV shot: When Marsellus wakes up after being hit by Butch's car. Later when Butch hits Maynard
•Corpse POV shot: Sgt. Donny Donowitz and Lt. Aldo Raine are looking down on and threatening someone.
In Tarantino’s earlier work like Reservoir Dogs and Pulp Fiction he did not really use the birds eye POV shot. He used it later on in his career though. He first tried it in Jackie Brown but mostly used this camera angle in Kill Bill: Volume 1 and 2.
Corpse POV shot: In the scene where Django and Dr. Schultz meet Misère Candie there is a shot of one of the slave wrestlers looking down at the soon to be defeated (dead) slave wrestler.
[Unfortunately there is no clear picture of this scene]
Tarantino mostly used the corpse POV shot in his earlier films like Pulp Fiction, Four Rooms, Jackie Brown, and Kill Bill: Volume 1 and 2.
Mirror Shot: Vincent is Mia’s Bathroom trying to convince himself to not try anything with Mia
Mirror Shot: At the beginning of chapter five, “Revenge of the Giant Face”, there is a reflection of Soshanna in the window.
Mirror Shot: Django kills one of the three wanted brothers and whips the other there is a mirror shot of Django in an old mirror.
God’s POV Shot: The top photo is of Lt. Archie Hicox looking down on two other soldiers. The picture below is a bird’s eye POV shot of Shosanna who has killed a fellow party goer and is now dead herself.
Bird’s POV Shot: In pulp fiction there are no real bird’s eye views but there are high angles which give a similar feeling.
Bird’s POV Shot: Django has just given up and walks out from underneath the dresser. There is no screen shot available but in this picture you can clearly see the crane used to capture the bird’s eye view angle. There are also quite a few high angles as well throughout the film.
Works Cited
http://www.rottentomatoes.com/m/inglourious_basterds/news/1837048/1/quentin_tarantino_talks_inglourious_basterds_-_rt_interview/
There is slightly less violence in Inglourious Basterds than in Tarantino’s other films, but the violence in Inglourious Basterds is slightly more thought out at points in the film, like the opening scene.
In the opening scene Col. Hans Landa visits Perrier LaPadite to question him about whether or not he is hiding any Jews. In this scene visuals as well as sound all play together to conjure emotions in the viewer. LaPadite has finally told Landa that he is hiding a family of Jews underneath the floorboards, the Dreyfus family. Unknowingly to the Dreyfus family, Landa has called in his men to mercilessly slaughter them. When the guns go off there are no bodies to be seen and absolutely no blood, very unlike Tarantino. Instead we are focused on the debris of the floorboards and the sound of the gunfire. In an interview with Sordeau from Rotten Tomatoes Tarantino says “I thought it could be more horrifyingly realistic if you didn’t see the blood. If you just saw the sawdust”.
Inglourious Basterds is an excellent example of different techniques being used to convey different emotions through music. Sound effects, sound mixes, and music scores are all used and all evoke emotions in the viewer.
The opening scene is the first and most obvious scene to use music to develop an emotion in the viewer. In the opening scene Landa orders his men to kill the Dreyfus family who are hiding underneath the floorboards of LaPadite’s cottage.
Music in Inglourious Basterds Continue
•At about 17:17 in this clip, music starts to play; it is soft yet harsh and continues to grow throughout this scene. This pairs with Marpurg's statement that "Hate [is conveyed by a] rough harmony and melody".
•At about 17:33 strings come in which raises the pitch and volume. The strings also make the music even harsher.
•Immediately when the gunfire starts the music becomes loud and booming, this is the climax of this scene and the climax of the music. After the gunfire a high pitched choir starts which adds to the feeling of wrath and doom. "wrath [is conveyed by]...sharp violent movements; shrieking dissonances".
•At about 18:26 you can heat a trumpet start to play when Landa realizes that there is still someone alive under the floorboards. Marpurg's statement of "Hopefulness [is conveyed by] a proud and exultant melody" is matched here. Shosanna has survived the gunfire and has escaped out the back of the house. As Landa walks out the door we hear the trumpet again which again gives that same feeling of hopefulness; Shosanna might get away.
•As Land raises his gun and takes aim we hear the choir at probably there loudest.
•The music ends suddenly with the cocking but not firing of the gun and the hit of a drum mimicking the sound of a firing gun.
Continued down below
http://www.felinorama.com/univ/doctor/Sonnenschein.pdf
http://www.imdb.com/title/tt0110912/
http://www.imdb.com/title/tt0361748/
http://www.imdb.com/title/tt1853728/
http://www.theatlanticwire.com/entertainment/2013/01/quentin-tarantino-violence-quotes/60900/
http://www.enotes.com/quentin-tarantino-essays/tarantino-quentin
http://voices.yahoo.com/the-nonlinear-narrative-reservoir-dogs-and-7267668.html?cat=40
http://www.everythingtarantino.com/
http://movieline.com/2013/01/11/quentin-tarantino-violence-movies-django-unchained-interview/
Luis Bacalov
Full transcript