CD Cover Task.

Tipahato - 'We live in detail'

Postmodernism Theories and Texts.

Postmodernism theories and texts

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Introduction to the exam.

G325 an introduction to the exam

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Creativity

What is creativity? (G325 questions on production work)
Taken from Media Magazine blog.

One of the possible areas you could be asked about in the exam is creativity. The projects you have undertaken will hopefully have felt like an opportunity to display your creativity, but you will need the chance to discuss what you understand by creativity and what it might mean to be creative.

The assignment options at AS and A2 all offer constraints for your work, whether it be making pages for a music magazine, the opening of a film or the packaging for an album; one of the reasons why you aren't offered total free choice is because people often find that working within constraints gives them something to exercise their creativity, whereas total freedom can sometimes make it really difficult to know where to start. It's why genre can be interesting- how has something been created which fits with certain structures and rules but plays around with them to give us something a little bit different?

The word 'creative' has many meanings- the most democratic meaning would really suggest that any act of making something (even making an idea) might be seen as a creative act. In more elitist versions of the term, it is reserved for those who are seen as highly skilled or original (famous artists, musicians, film-makers etc). an interesting third alternative is to think about how creativity can be an unconscious, random or collaborative act that becomes more than the sum of its parts.

A great shared site for creative random art with some effort is on Flickr with the shared CD meme pool. This is a game where you create a CD cover for an imaginary band and upload it to Flickr; the trick is you have to create it from 'found' materials, again following a set of rules.

1. Generate a name for your band by using WikiPedia's random page selector tool, and using the first article title on whichever page pops up. No matter how weird or lame that band name sounds.

2. Generate an album title by cutting and pasting the last four words of the final quote on whichever page appears when you click on the quotationspage's random quote selector tool. No matter what those four words turn out to be.

3. Finally, visit Flickr's Most Interesting page -- a random selection of some of the interesting things discovered on Flickr within the last 7 days -- and download the third picture on that page. (Even better: Click on this link to get a Flickr photo that's licensed under Creative Commons.) Again -- no cheating! You must use the photo, no matter how you feel about it.

4. Using Photoshop (or whatever method you prefer), put all of these elements together and create your very own CD cover, then upload it to the CD memepool


"A process needed for problem solving...not a special gift enjoyed by a few but a common ability possessed by most people" (Jone 1993)

"The making of the new and the re arranging of the old" (Bentley 1997)


"Creativity results from the interaction of a system composed of three elements: a culture that contains symbolic rules, a person who brings novelty into the symbolic domain, and a field of experts who recognise and validate the innovation." (Csikszentmihalyi 1996)

"There is no absolute judgement [on creativity] All judgements are comparisons of one thing with another." (Donald Larning)


LINK

References to Ingourious Basterds - Research.

John Fiske - Genre - "Like Something Out Of A Movie"

.: Fiske - Genre - "Like Something Out Of A Movie"  

Where Eagles Dare (1968)

http://www.youtube.com/watch?v=pRHqtbt3ORc&feature=related

Click on the image above for a compilation of Nazi deaths in Where Eagles Dare. The film is mentioned in the Empire article as a film to watch in preparation for Inglourious Basterds. Watch the clip and the connection should be obvious.

The Dirty Dozen trailer

The Good The Bad And The Ugly (1966) finale



The Good, the Bad and the Ugly (Italian: Il buono, il brutto, il cattivo) is a 1966 Italian/Spanish epic spaghetti western film directed by Sergio Leone, starring Clint Eastwood, Lee Van Cleef, and Eli Wallach in the title roles. The screenplay was written by Age & Scarpelli, Luciano Vincenzoni and Leone, based on a story by Vincenzoni and Leone. Director of photography Tonino Delli Colli, was responsible for the film's sweeping widescreen cinematography and Ennio Morricone composed the famous film score, including its main theme. It is the third and final film in the Dollars Trilogy following A Fistful of Dollars (1964) and For a Few Dollars More (1965). The plot revolves around three gunslingers competing to find a fortune in buried Confederate gold amid the violent chaos of gunfights, hangings, American Civil War battles and prison camps.

Tarantino digs into record collection for "Basterds"

A Billboard interview with Tarantino discussing the music used in Inglourious Basterds.

http://www.reuters.com/article/2009/08/21/us-tarantino-idUSTRE57K4T520090821

Shaft (1971) trailer

http://www.youtube.com/watch?feature=player_embedded&v=NiCB2isZcRM

Shaft is a 1971 American blaxploitation film directed by Gordon Parks, released by Metro-Goldwyn-Mayer. An action film with elements of film noir, Shaft tells the story of a black private detective, John Shaft, who travels through Harlem and to the Italian mob neighborhoods in order to find the missing daughter of a black mobster. It stars Richard Roundtree as Shaft, Moses Gunn as Bumpy Jonas, Charles Cioffi as Lt. Vic Androzzi, Christopher St. John as Ben Buford, and Gwenn Mitchell and Lawrence Pressman in smaller roles. The movie was adapted by Ernest Tidyman and John D. F. Black from Tidyman's 1971 novel of the same name.

The Shaft soundtrack album, recorded by Isaac Hayes, was also a success, winning a Grammy Award for Best Original Score; the "Theme from Shaft" won the Academy Award for Best Original Song and has appeared on multiple Top 100 lists, including AFI's 100 Years…100 Songs.

In 2000, Shaft, widely considered a prime example of the blaxploitation genre, was selected for preservation in the United States National Film Registry by the Library of Congress for being "culturally, historically, or aesthetically significant."

Inglourious Influences

Three trailers from films considered by Empire to be influences on Inglourious Basterds (look at the article I copied for you) . I have already posted trailers for the other two influences listed: The Dirty Dozen and The Good The Bad And The Ugly.

True Romance 1993


Inglorious Bastards 1978

The White Hell of Pitz Palu


The Untouchables steps scene


The Odessa Steps and Its Descendants
http://www.youtube.com/watch?v=yH1tO2D3LCI

Nation's Pride

Inglourious Basterds review

Dir. Quentin Tarantino, USA/Germany/France , 2009, 153 mins, partly in French, German and Italian with subtitles



Cast: Brad Pitt, Diane Kruger, Christoph Waltz, Mélanie Laurent, Daniel Brühl

Review by Richard Mellor

Let’s start with an easy one: into what genre does Inglourious Basterds fit? Ahah, you see it’s an, er, comedy espionage thriller. Sort of. Well, except that such a description brings to mind Inspector Clouseau, rather than the Nazi-bludgeoners that Quentin Tarantino‘s film dreams up. Nor does it illustrate the World War II setting and historical re-imagining. Or the level of racism. Or indeed the gruesome violence - likely to horrify more conservative viewers, if not seasoned Tarantino regulars. Blimey – good luck categorizing this one, Amazon. Better to simply begin with the plot, perhaps. Spanning five distinct chapters and an overly colossal 153 minutes, it has Brad Pitt’s jocular Lieutenant Aldo Raine leading The Basterds, a group of vengeful Jewish assassins, around Nazi-occupied France, their intentions solely to kill and then scalp Germans. A meeting with pin-up actress cum spy Bridget von Hammersmark (Diane Kruger) diverts them towards Paris, where Hitler and other Third Reich luminaries are to attend the premiere of Goebbels’ latest piece of feature film propaganda – the story of war hero Fredrick (Daniel Brühl), now a hideously conceited actor.
The villain of the piece is Colonel Hans Landa (Christoph Waltz, foremost among many unheralded German actors that Tarantino has daringly cast). The Nazi Head of Security and a bit of a Rob Brydon lookalike, he is a fabulous cocktail of menace and mirth, as mean as he’s meticulous and as savvy as he’s smiley. For all that, Landa’s unaware that Goebbel’s chosen cinema is run by Shosanna (Mélanie Laurent) - a Jew whose entire family he slaughtered three years ago in Inglourious Basterds’ torturous opening. Unsurprisingly ripe with hatred, Shosanna shares Aldo and co’s desire for avenging Nazi wrongs as brutally as possible. Hitler had better watch out…
The pivotal scene in all this comes when the Basterds first encounter Bridget, in a cellar bar in a sleepy French village. Having already been forced to pose as Germans in front of a genuine Nazi patrol group, the initial trio sent in by Aldo further endure a drunken father, a pistol stand-off involving guns-to-testicles, and a sticky-head game, at which the rival Captain is impossibly good. It’s a long, spellbinding section that never leaves the murky room and that dramatically undulates in mood - terrifying one minute, amusing the next. This weird balance renders Tarantino’s movie a strange, unprecedented movie experience.
And such a frivolous blend feels all the more surprisingly in a film about the Second World War - surely the last subject you joke about? Tarantino has never been one to play it straight though, and besides, Inglourious Basterds so brazenly re-writes history that you can’t possibly take it too seriously. The initial tagline – once upon a time in Nazi-occupied Germany – suggests a fairytale and later scenes are duly subject to panto-esque exaggeration. Witness a permanently-apoplectic Hitler “nein nein neining”, or Churchill’s grumpy tactician, stuck in a slapstick scene with Mike Myers’ colonel and a British commando film geek.
These famous icons aren’t alone in being rather cardboard. For all that he chomps on gum and speaks cutesy phrases and slogans, Pitt’s malevolent Aldo scarcely gives an inkling of the man behind this likeable sheen or explains the motivation behind his bloody campaign. Kruger’s Marlene Dietrich-inspired moll is similarly ill-defined, but thankfully the characters of Landa, Shosanna and Fredrick are much better drawn. The former is gradually exposed as a control freak with a habit of consuming dairy products in terrifying fashion, while the latter purposefully recalls Audie Murphy, a real-life WWII soldier-turned-actor.
Indeed the power of celluloid is a central theme in Inglourious Basterds, as in all Tarantino movies. The terrible bloodshed on show deliberately echoes Goebbels’ films, with sections shot at the same studios once used by the anti-Semite. And the concluding scenario contains Tarantino’s own propaganda: the chance for cinema, metaphorically and lyrically, to vanquish the evil Nazis and save the day. Other cinematic references muscle in, too: the purposefully misspelt title pays tribute to Enzo Castellari’s Inglorious Bastards (Castellari appears briefly as himself), while spaghetti western music sounds throughout.
There are also echoes of previous Tarantino efforts via Inglourious Basterds’ genre-bending (Kill Bill), glamour (Jackie Brown) and gore (Reservoir Dogs). But the strongest recall of all is Pulp Fiction, with Tarantino’s dialogue back to its electrifying best. His characters’ verbal exchanges are once again faster and more thrilling than a Wimbledon rally. Language and pronunciation are particular obsessions in this latest treat; the funniest scene of all has Aldo and Landa discussing game-show catchphrases amid a supposedly tense interrogation. “Is that the way you say it, ‘That's a Bingo?’”, queries the German. “You just say "Bingo", replies Aldo, disgusted at the elementary mistake.
The scene’s brilliant, brazen and utterly bonkers - like this strangest of war films as a whole. That’s a bingo indeed.
LINK

Postmodernism theories and texts

Postmodernism theories and texts

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Family Guy - Hitler and Eva

Mitchell & Webb Nazis


Moe talks about postmodernism


The Searchers (1956) dir. John Ford-final scene

This is the scene that is referenced at the end of the first chapter of Inglourious Basterds. This is one of the most iconic scenes of all time.

Max Linder - Combat de boxe

Noel Coward-In Which We Serve (1942) dir. David Lean

Sir Noël Peirce Coward (16 December 1899 – 26 March 1973) was an English playwright, composer, director, actor and singer, known for his wit, flamboyance, and what Time magazine called "a sense of personal style, a combination of cheek and chic, pose and poise".

Leni Riefenstahl

Helene Bertha Amalie "Leni" Riefenstahl (German pronunciation: [ˈʁiːfənʃtaːl]; 22 August 1902 – 8 September 2003) was a German film director, actress and dancer widely noted for her aesthetics and innovations as a filmmaker. Her most famous film was Triumph des Willens (Triumph of the Will), a propaganda film made at the 1934 Nuremberg congress of the Nazi Party. Riefenstahl's prominence in the Third Reich along with her personal friendship with Adolf Hitler thwarted her film career following Germany's defeat in World War II, after which she was arrested but released without any charges

Inglourious Basterds tavern scene


Analyzing 'Inglourious Basterds' tavern scene
For Lights, Camera . . . , we ask a craftsperson to talk about a specific scene in his or her latest film. This week, Sally Menke,Sally Menke, film editor on " Inglourious Basterds," talks about the shootout scene in the basement tavern.
Quentin Tarantino told the multiple stories of "Inglourious Basterds" in five distinct chapters, and we knew from the script stage the film would hinge around the set-piece in the tavern La Louisianne. The daunting task of putting a 25-page dialogue sequence, spoken almost entirely in German, in the middle of the film, weighed heavily on everyone's minds, and it all had to come together in the cutting room. Just mentioning the name La Louisianne created tension among the crew, but we needed that tension to transcend to the audienceIn La Louisianne, the Basterds meet their German movie star contact, Bridget von Hammersmark (Diane Kruger) for the first time, and they must all pretend to be old friends by posing as Nazi officers. Much to the Basterds' surprise, they not only find Bridget in the dangerously cramped tavern, they find the basement bar filled with drunken, celebrating Nazis, one of whom happens to be enamored with the German movie star and continually pesters their table. The tension in the group runs high as we watch the real Nazis begin to question the origin of the British Archie Hicox's (Michael Fassbender) strange accent, and we hold our breath.
La Louisianne required detailed attention to character development as well as numerous story points, all the while using the device of language to create tension. Quentin and I felt it was essential to have the characters not simply drive the scene toward a plot point, but to be fully nuanced characters, while continually building the tension that would culminate in an explosive gun battle that kills all but one. We knew the gunfight would work all the better if we could carefully manipulate and build the tension through a give and take of emotions, playing a cat-and-mouse game with our characters -- and our audience.
Our editorial intentions had to be completely clear in how we wanted the audience to feel at any specific moment in the scene -- the Basterds are screwed, wait, no, they're OK, oh, no they aren't, this Nazi knows, he's on to them, no, no, they are OK -- until Hicox makes the fatal error that unequivocally gives them all away as impostors. Every line had a layer of tension, and we needed to play their reactions to the lines as much as the lines themselves to build it properly. Every beat counted. Every second someone delayed their response gave the audience a chance to think, "Did they figure it out? Do they know?"
We obsessively controlled every moment so that in contrast, when the climactic gun battle finally does erupt, it explodes in the loudest, craziest and most shocking way possible. But again, while doing this, we always had to return to the human element -- our character development. Hicox gets a bit of a tear in his eye when he realizes he will live no longer, and if we have done our jobs correctly, so will our audience.
Another challenge was to seamlessly integrate a lot of key information for upcoming plot points without them feeling perfunctory, heavy-handed or pedantic. For example, we needed to show a close-up of Bridget's shoes so there was no doubt in the audience's mind who it belonged to later on when Col. Hans Landa (Christoph Waltz) discovers the shoe while inspecting the aftermath in the bar. We can't draw attention to the shoe in a way that says, "We're showing you a close-up of a foot," but we do need to make enough of a point of it so the audience knows it's Bridget's -- instantly. The solution was to use the shoe as character introduction, to show the style and glamour of this movie star/double agent whom we, the audience and our characters, meet for the first timeThe tavern music was another way we developed a character. The music at first works environmentally and emotionally in the scene but then functions to locate a yet-to-be-seen, off-screen character, the Gestapo Maj. Hellstrom, who, when revealed, we see has clearly been controlling the music selections. We also now know that without a doubt Hellstrom had been listening to the Basterds' conversation the entire time, and we now use the absence of that same music when Hellstrom purposefully removes the needle from the record player to show that he has taken control of the scene. The Basterds, and our audience, are now in Hellstrom's hands.
The last issue we had to contend with was the length. A nearly 25-minute dialogue scene that starts 69 minutes into the film can be a potential challenge for audiences, as most scenes by this point play considerably shorter. But it was our belief that if we could hold the scene's tension, we could not only develop character and attend to the story but actually stop the scene to allow Hellstrom to play his King Kong card game, a story in and of itself, which cinematically alludes to another oppressed group, the slaves in America. I could go on about many other layers that needed our attention, but, unfortunately, in this situation I am not the editor with final cut and must end the piece here.

Los Angeles Times

January 13th 2010

Sergeant York trailer (1941) dir. Howard Hawks

Sergeant York is a 1941 biographical film about the life of Alvin York, the most-decorated American soldier of World War I. It was directed by Howard Hawks and was the highest-grossing film of the year.

Has one of the most overrated directors of the '90s become one of the most underrated of the aughts?

Quentin Tarantino concludes his seventh feature, the Nazi-bludgeoning fantasy Inglourious Basterds, with a grisly flourish and a self-satisfied review. Having performed one of his signature mutilations, a character peers down at his handiwork and into the camera and declares: "This might just be my masterpiece." This is typical Tarantino bluster, in keeping with the image of the bratty wunderkind that he worked hard to cultivate and that, even at 46, he refuses to outgrow. But as the rare filmmaker who's also an avid reader of film reviews, he also surely knows that it's been a while since the critical establishment thought of him as a maker of masterpieces.


Since it premiered at Cannes in May, Basterds has met with some wildly conflicting reactions (some of them—no surprise given its breezily outrageous approach to a loaded subject—highly negative and morally accusatory). Tarantino's career since Pulp Fiction continues to seem like one long backlash. Could it be that one of the most overrated directors of the '90s has become one of the most underrated of the aughts?


Tarantino's filmography is split in two by the six-year gap that separated Jackie Brown (1997) and Kill Bill Vol. 1(2003), during which, among other things, he worked on the notoriously unwieldy Basterds screenplay (which was at one point supposed to be a miniseries). The received wisdom has it that he never quite made a comeback. But the criticisms most frequently leveled against him these days—he's a rip-off artist, he makes movies that relate only to other movies, he knows nothing of real life, he could use some sensitivity training—apply equally, if not more so, to the earlier films. (Reservoir Dogs lifted many of its tricks directly from the Hong Kong film City on Fire; Pulp Fiction and Jackie Brown are the Tarantino movies with the most flamboyant use of racist language.) Reviewers and audiences may have wearied of the blowhard auteur, but there's an argument to be made that Tarantino, far from a burnout case, is just hitting his stride, and that his movies, in recent years, have only grown freer and more radical.


Taken as a yin-yang whole, Kill Bill Vol. 1 and Vol. 2 constitute a globe-spanning feat of genre scholarship, blithely connecting the dots from Chinese kung fu to Japanese swordplay, from blaxploitation to manga to spaghetti Western. Tarantino's reference-happy method is often dismissed as know-it-all geekery or stunted nostalgia, the video-store dreams of an eternal fanboy. But there is something strikingly of the moment and perhaps even utopian about Kill Bill's obsessive pastiche, which at once celebrates and demonstrates the possibilities of the voracious, hyperlinked 21st-century media gestalt: the idea that whole histories and entire worlds of pop culture are up for grabs, waiting to be revived, reclaimed, remixed.


First released as part of Grindhouse, 2007's double-header exercise in retro sleaze, Death Proof confirmed that Tarantino has no interest, or maybe is incapable of, straightforward homage, even when that's the nominal assignment. While partner in crime Robert Rodriguez tossed off a scattershot bit of zombie schlock for his contribution (Planet Terror), Tarantino borrowed a few motifs from sorority slashers and car-chase zone-outs and fashioned a curious formal experiment that would have given a '70s exploitation producer fits. Death Proof (on DVD in an unrated, extended version) is split down the middle into mirror-image halves. In each segment, the same scenario unfolds (with very different outcomes): a group of young women has a scary run-in with Stuntman Mike (Kurt Russell), a killer in a muscle car, and the exhilarating final burst of action is preceded by a provocatively long bout of directionless yapping.


Like their creator, Tarantino's characters never shut up and are plainly enthralled by the sound of their own voices. More than the spasms of violence, the lifeblood of his movies is their ornate dialogue, which tends to unfurl at great, meandering length. (Tarantino was sly enough to call attention to this hallmark early on: In Reservoir Dogs, when Tim Roth's character, an undercover cop, is handed the scripted anecdote that he will have to perform to pass as Mr. Orange, he balks at the sheer level of detail: "I've got to memorize all this? There's over four fucking pages of shit here.") Tarantino movies are known for two kinds of verbal expulsions: the stem-winding monologue (Samuel L. Jackson's Old Testament shtick in Pulp Fiction) and the micro-observational tangent (Steve Buscemi's anti-tipping tirade in Reservoir Dogs). In Death Proof, which revels in a buzzed, leisurely camaraderie, he quietly masters a third kind: the language of downtime and hanging out, not exactly naturalistic (his most subdued chatter retains a heightened quality) but less baroque and truer to the rhythms of actual human interaction. Modest as it seems, Death Proof is in fact a clear-cut demonstration of Tarantino's gifts. By so pointedly breaking the film into long, alternating sections—talk, action, talk, action—he distends the normal rhythm of his movies, weighing aural against visual spectacle and pushing each to its limit.


But it's in Inglourious Basterds that the relationship between language and action becomes truly charged. Though the violence (much of it perpetrated by Jews against Nazis, with baseball bats and bowie knives) is graphic and memorable, the film consists largely of one-on-one verbal showdowns. As in Death Proof, but with greater purpose, Tarantino gives the conversations room to soar and stall and double back on themselves (especially in two agonizingly tense and protracted scenes, in a farmhouse and a basement tavern). Language is the chief weapon of the insinuating villain, brilliantly played by Christoph Waltz, a Nazi colonel fluent in German, English, French, and Italian. Power resides in the persuasiveness of speech; the success of undercover missions hinges on the ability to master accents; and as characters strive to maintain false pretenses, words are a means of forestalling death.
Inglourious Basterds addresses head-on many of the standard anti-Tarantino criticisms. You say he makes movies that are just about movies? You think they present violence without a context? Luring the elite of the Third Reich to an Art Deco cinematheque in Nazi-occupied Paris, Basterds gleefully uses film history to turn the tables on world history; its context is nothing less than the worst atrocity of the 20th century. This only seems to have further infuriated Tarantino's detractors, some of whom are appalled that this terminal adolescent would dare to indulge his notorious penchant for vengeful wish fulfillment on such sensitive and sacrosanct material.


Needless to say, Tarantino's movie shares little common ground with—and, indeed, is probably a direct response to—your typical Holocaust drama. It has no interest in somber commemoration, and it refuses to deny the very real satisfactions of revenge. Like all of Tarantino's films, Inglourious Basterds is about its maker's crazy faith in movies, in their ability to create a parallel universe. His films have always implicitly insisted that movies are an alternative to real life, and with Inglourious Basterds, for the first time, he has done something at once preposterous and poignant: He takes that maxim at face value and creates his own counterfactual history. It may not be his masterpiece, but for sheer chutzpah, it will be hard to top.
By Dennis LimPosted Thursday, Aug. 20, 2009, at 1:13 PM ET

Originally published on Slate.com

Van Johnson

Van Johnson (August 25, 1916 – December 12, 2008) was an American film and television actor and dancer who was a major star at Metro-Goldwyn-Mayer studios during and after World War II.
Johnson was the embodiment of the "boy-next-door wholesomeness (that) made him a popular Hollywood star in the '40s and '50s,"[1] playing "the red-haired, freckle-faced soldier, sailor or bomber pilot who used to live down the street" in MGM movies during the war years with such films as 30 Seconds over Tokyo, A Guy Named Joe and The Caine Mutiny. Johnson made occasional World War II movies through the end of the 1960s, and he played a military officer in one of his final feature films, in 1992. At the time of his death in December 2008, he was one of the last surviving matinee idols of Hollywood's "golden age."[2]

Inglourious Basterds soundtrack

Quentin Tarantino's Inglourious Basterds: Motion Picture Soundtrack is the soundtrack to Quentin Tarantino's motion picture Inglourious Basterds. It was originally released on August 18, 2009. The soundtrack uses a variety of music genres, including spaghetti western soundtrack excerpts, R&B and the David Bowie song "Cat People (Putting Out Fire)".[6] This is the first soundtrack for a Quentin Tarantino film not to feature dialogue excerpts. The french "The Man with the Big Sombrero" was recorded for the movie. The album was nominated for a Grammy Award for Best Compilation Soundtrack Album for a Motion Picture, Television or Other Visual Media, but lost to Slumdog Millionaire (soundtrack).


"The Green Leaves of Summer" - Nick Perito & His Orchestra
"The Verdict (La Condanna)" - Ennio Morricone (mislabled "Dopo la condanna")
"White Lightning (Main Title)" - Charles Bernstein (Originally in White Lightning)
"Slaughter" - Billy Preston (Originally in Slaughter)
"The Surrender (La resa)" - Ennio Morricone
"One Silver Dollar (Un Dollaro Bucato)" - Gianni Ferrio
"Davon geht die Welt nicht unter" - Zarah Leander
"The Man with the Big Sombrero" - Samantha Shelton & Michael Andrew
"Ich wollt' ich wär ein Huhn" - Lilian Harvey & Willy Fritsch
"Main Theme from Dark of the Sun" - Jacques Loussier
"Cat People (Putting Out Fire)" - David Bowie (Originally in Cat People)
"Tiger Tank" - Lalo Schifrin (Originally in Kelly's Heroes)
"Un Amico" - Ennio Morricone (Originally in Revolver)
"Rabbia e Tarantella" - Ennio Morricone
Tracks not on soundtrack cd that also appear in the film.

"L'incontro Con La Figlia" - Ennio Morricone
"Il Mercenario (ripresa)" - Ennio Morricone
"Algiers November 1, 1954" - Ennio Morricone & Gillo Pontecorvo / The Battle of Algiers
"Hound Chase (intro)" - Charles Bernstein
"The Saloon (from Al Di Là Della Legge)" - Riz Ortolani
"Bath Attack" - Charles Bernstein
"Claire's First Appearance" - Jacques Loussier
"The Fight" - Jacques Loussier
"Mystic and Severe" - Ennio Morricone
"The Devil's Rumble" - Davie Allan & The Arrows
"What'd I Say " - Rare Earth
"Zulus" - Elmer Bernstein
"Eastern Condors" - Ting Yat Chung
"3 Thoughts" - Einstürzende Neubauten (In the beginning of the trailer)
"Comin' Home" - Murder by Death (trailer)
Wikipedia LINK

Inglourious Basterds soundtrack - Slaughter by Billy Preston



Inglourious Basterds soundtrack - The Devil's Rumble by Davie Allen & The Arrows



Quentin Tarantino's Inglourious Basterds: Motion Picture Soundtrack is the soundtrack to Quentin Tarantino's motion picture Inglourious Basterds. It was originally released on August 18, 2009. The soundtrack uses a variety of music genres, including spaghetti western soundtrack excerpts, R&B and the David Bowie song "Cat People (Putting Out Fire)".^[6] This is the first soundtrack for a Quentin Tarantino film not to feature dialogue excerpts. The french "The Man with the Big Sombrero" was recorded for the movie. The album was nominated for a Grammy Award for Best Compilation Soundtrack Album for a Motion Picture, Television or Other Visual Media, but lost to Slumdog Millionaire (soundtrack).

1. "The Green Leaves of Summer" - Nick Perito & His Orchestra
2. "The Verdict (La Condanna)" - Ennio Morricone (mislabled "Dopo la condanna")
3. "White Lightning (Main Title)" - Charles Bernstein (Originally in White Lightning)
4. "Slaughter" - Billy Preston (Originally in Slaughter)
5. "The Surrender (La resa)" - Ennio Morricone
6. "One Silver Dollar (Un Dollaro Bucato)" - Gianni Ferrio
7. "Davon geht die Welt nicht unter" - Zarah Leander
8. "The Man with the Big Sombrero" - Samantha Shelton & Michael Andrew
9. "Ich wollt' ich wär ein Huhn" - Lilian Harvey & Willy Fritsch
10. "Main Theme from Dark of the Sun" - Jacques Loussier
11. "Cat People (Putting Out Fire)" - David Bowie (Originally in Cat People)
12. "Tiger Tank" - Lalo Schifrin (Originally in Kelly's Heroes)
13. "Un Amico" - Ennio Morricone (Originally in Revolver)
14. "Rabbia e Tarantella" - Ennio Morricone

Tracks not on soundtrack cd that also appear in the film.

1. "L'incontro Con La Figlia" - Ennio Morricone
2. "Il Mercenario (ripresa)" - Ennio Morricone
3. "Algiers November 1, 1954" - Ennio Morricone & Gillo Pontecorvo / The Battle of Algiers
4. "Hound Chase (intro)" - Charles Bernstein
5. "The Saloon (from Al Di Là Della Legge)" - Riz Ortolani
6. "Bath Attack" - Charles Bernstein
7. "Claire's First Appearance" - Jacques Loussier
8. "The Fight" - Jacques Loussier
9. "Mystic and Severe" - Ennio Morricone
10. "The Devil's Rumble" - Davie Allan & The Arrows
11. "What'd I Say " - Rare Earth
12. "Zulus" - Elmer Bernstein
13. "Eastern Condors" - Ting Yat Chung
14. "3 Thoughts" - Einstürzende Neubauten (In the beginning of the trailer)
15. "Comin' Home" - Murder by Death (trailer)

Wikipedia LINK

Modernism-a definition

http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=174

In the field of art the broad movement in Western art, architecture and design which self-consciously rejected the past as a model for the art of the present. Hence the term modernist or modern art. Modernism gathered pace from about 1850. Modernism proposes new forms of art on the grounds that these are more appropriate to the present time. It is thus characterised by constant innovation. But modern art has often been driven too by various social and political agendas. These were often utopian, and modernism was in general associated with ideal visions of human life and society and a belief in progress. The terms modernism and modern art are generally used to describe the succession of art movements that critics and historians have identified since the Realism of Courbet, culminating in abstract art and its developments up to the 1960s. By that time modernism had become a dominant idea of art, and a particularly narrow theory of modernist painting had been formulated by the highly influential American critic Clement Greenberg. A reaction then took place which was quickly identified as Postmodernism.

From Tate glossary.

René Magritte - Ceci n'est pas une pipe

Magritte's work frequently displays a juxtaposition of ordinary objects in an unusual context, giving new meanings to familiar things. The representational use of objects as other than what they seem is typified in his painting, The Treachery of Images (La trahison des images), which shows a pipe that looks as though it is a model for a tobacco store advertisement. Magritte painted below the pipe "This is not a pipe" (Ceci n'est pas une pipe), which seems a contradiction, but is actually true: the painting is not a pipe, it is an image of a pipe. It does not "satisfy emotionally"—when Magritte once was asked about this image, he replied that of course it was not a pipe, just try to fill it with tobacco.

Postmodern film

Postmodernist film describes the articulation of ideas of postmodernism through the cinematic medium. Postmodernist film upsets the mainstream conventions of narrative structure and characterization and destroys (or, at least, toys with) the audience's suspension of disbelief to create a work in which a less-recognizable internal logic forms the film's means of expression.

Postmodernism - another definition

"A general explanation is that postmodernism is a contradiction in terms, as post means after and modern means now, it is impossible for anything to be after now. The term itself is supposed to be deliberately unexplainable.

In terms of literature and media it is generally considered to be anything which makes little attempt to hide the fact that it is not real, it wants you to know that its been created and it wants you to recognise elements from elsewhere (i.e. that they have 'stolen' ideas from other sources), that there are no new or original ideas and that everything is in someway connected. Importantly it doesn’t want you to view it as being any more or less valid or important than a text which pretends to be real, postmodernists want everything to be equal, they want to remove binary opposites and start again. Students are often criticised for being post modern as they tend to like 'naff' things and think they are cool precisely because they aren't cool (thus removing binary opposites)"

Michael Smith (2009)

Postmodernism - a definition

Postmodern texts deliberately play with meaning. They are designed to be read by a literate (ie experienced in other texts) audience and will exhibit many traits of intertextuality. Many texts openly acknowledge that, given the diversity in today's audiences, they can have no preferred reading (check out your Reception Theory) and present a whole range of oppositional readings simultaneously. Many of the sophisticated visual puns used by advertising can be described as postmodern. Postmodern texts will employ a range of referential techniques such as bricolage, and will use images and ideas in a way that is entirely alien to their original function (eg using footage of Nazi war crimes in a pop video).

Hyperreality examples

1.A magazine photo of a model that has been touched up with a computer.

2.Films in which characters and settings are either digitally enhanced or created entirely from CGI (e.g.: 300, where the entire film was shot in front of a blue/green screen, with all settings super-imposed).


3.A well manicured garden (nature as hyperreal).

4.Any massively promoted versions of historical or present "facts" (e.g. "General Ignorance" from QI, where the questions have seemingly obvious answers, which are actually wrong).


5.Professional sports athletes as super, invincible versions of the human beings.

6.Many world cities and places which did not evolve as functional places with some basis in reality, as if they were creatio ex nihilo (literally 'creation out of nothing'): Disney World; Dubai; Celebration, Florida; and Las Vegas.


7.TV and film in general (especially "reality" TV), due to its creation of a world of fantasy and its dependence that the viewer will engage with these fantasy worlds. The current trend is to glamorize the mundane using histrionics.

8.A retail store that looks completely stocked and perfect due to facing, creating a world of endless identical products.


9.A life which cannot be (e.g. the perfect facsimile of a celebrity's invented persona).

10.A high end sex doll used as a simulacrum of a bodily or psychologically unattainable partner.


11.A newly made building or item designed to look old, or to recreate or reproduce an older artifact, by simulating the feel of age or aging.

12.Constructed languages (such as E-Prime) or "reconstructed" extinct dialects.


13.Second Life The distinction becomes blurred when it becomes the platform for RL (Real Life) courses and conferences, Alcoholics Anonymous meetings or leads to real world interactions behind the scenes.

14.Weak virtual reality which is greater than any possible simulation of physical reality.

Taken from Wikipedia.

Hyperreality

Hyperreality is used in semiotics and postmodern philosophy to describe a hypothetical inability of consciousness to distinguish reality from fantasy, especially in technologically advanced postmodern cultures. Hyperreality is a means to characterize the way consciousness defines what is actually "real" in a world where a multitude of media can radically shape and filter an original event or experience. Some famous theorists of hyperreality include Jean Baudrillard, Albert Borgmann, Daniel Boorstin, and Umberto Eco.

Most aspects of hyperreality can be thought of as "reality by proxy." Some examples are simpler: the McDonald's "M" arches create a world with the promise of endless amounts of identical food, when in "reality" the "M" represents nothing, and the food produced is neither identical nor infinite.[1]

Baudrillard in particular suggests that the world we live in has been replaced by a copy world, where we seek simulated stimuli and nothing more. Baudrillard borrows, from Jorge Luis Borges (who already borrowed from Lewis Carroll), the example of a society whose cartographers create a map so detailed that it covers the very things it was designed to represent. When the empire declines, the map fades into the landscape and there is neither the representation nor the real remaining – just the hyperreal. Baudrillard's idea of hyperreality was heavily influenced by phenomenology, semiotics, and Marshall McLuhan.