In his historical movies, Quentin Tarantino rereads and rewrites three critical moments of the American past. An interesting strategy he uses is that of introducing different imaginary artifacts into the narration: a film-within-the-film (The Pride of a Nation) in Inglorious Basterds (2009), KKK hoods in Django Unchained (2012), and the Viking crucifix in The Hateful Eight (2015). This article aims at investigating how such a transmedia adaptation of these fictitious elements, from the scripts into the movies, defines three ekphrastic sections that overturn the relationship between truth and falsehood.

The Truth in the Script and the Untruth in the Movie: Tarantino’s Rewriting of American History

Enrico Botta
2021

Abstract

In his historical movies, Quentin Tarantino rereads and rewrites three critical moments of the American past. An interesting strategy he uses is that of introducing different imaginary artifacts into the narration: a film-within-the-film (The Pride of a Nation) in Inglorious Basterds (2009), KKK hoods in Django Unchained (2012), and the Viking crucifix in The Hateful Eight (2015). This article aims at investigating how such a transmedia adaptation of these fictitious elements, from the scripts into the movies, defines three ekphrastic sections that overturn the relationship between truth and falsehood.
screenplay studies, Quentin Tarantino, historical movies, post-truth
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11562/1054956
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