Alice Hoar 13D In what ways can Inglorious Basterds be considered postmodern?

Tarantinos postmodernist style is made clear within Inglorious Basterds through his fictional representation of a war film. From the films opening credits we are immediately reminded of the fictional basis of the film through the use of a chapter structure and the opening line Once upon a time. The use of this phrase also refers to the fairytale genre and indicates influence from a completely different genre with distinct conventions, which may be played with within the film, to highlight, again, the fictional basis of the film. It also shows a postmodern challenge of conventions, as an idealistic fairytale narrative is not one you would expect within a war film. The music played alongside the opening credits is a reference to spaghetti western films, another genre with influence on the film. The song is The green leaves of summer was featured in a 1960s spaghetti western film The Alamo. The use of this spaghetti western track in the opening scene indicates to the audience potential danger and confrontation. This song was released later than the time in which Tarantinos film is set; this is a postmodern element within the movie, which is used on several occasions as a subtle reminder of the films fictional basis. A second example of this would be the use of a track by David Bowie Cat People (Putting out Fire), the title song from the film Cat People released in 1982. The opening setting is one reminiscent of a similar opening scene within The Sound of Music, a film set in the same war era; this intertextual reference reflects the heart-warming, calm scene from the musical and uses the theory of transposition to change it into a vicious and sinister feeling scene, this is considered a postmodern element. Within this scene there are several other elements that postmodern and unique to Tarantinos work; for example, the use of a bright yellow text in place of a standard white for subtitles. This is a common feature throughout all Tarantinos films. Also within the opening scene there is a camera pan used which shows the audience that the house is in fact a structure on a set, this destroys any illusion of reality and reminds the audience that the film is in fact based on a fictional narrative. The drop pan down below the floorboards also creates tension, reflecting that created by the spaghetti western style music. This initial scene contains a lot of dialogue and very little action, a challenge to the conventional idea of war films being entirely action and violence. Instead here, we have a story being built up extremely gradually through the use of speech between two characters - Pierre Lapadite, the father and owner of the house, and Hans Landa, the Nazi Colonel who intends to inspect the house. This idea creates strong tension within the scene, especially when combined with the slow panning camera work that shows below the floorboards. Also, the use of pointless and meaningless topics within the dialogue, such as the discussion about milk, creates distraction from the main topic of conversation, again creating more tension. This helps to place emphasis on the shooting by the Nazis at the end of the scene, the build up in tension created by the slow paced scene makes this have its full impact and overall appear far more violent that it actually is, in comparison to a conventional war film. This is a technique commonly used in horror films for added dramatic effect; this scene also contains reference to the spaghetti western genre, and the slow paced stand off scenes within this genre, showing influence from both these separate genres is a postmodern feature. The end of the opening scene shows a Jewish girl Shoshanna escaping the Nazi Colonel and Soldiers, the framing of this shot shows the silhouette of the doorway and beyond it the landscape and the running girl. This shot is an intertextual reference to end scenes final shot in The Searchers, a 1950s western film; this reference again highlights the spaghetti western genres influence on the film. This is the final shot within Chapter 1 and fades to black in order to introduce Chapter 2, which is titled Inglorious Basterds. The use of the text introduction to each chapter provides the audience with constant reminders

throughout the film that it is not real, and it is fact purely a fictional narrative, much like a book. The break created by each chapter also allows there to be no necessary explanations for changes in time, characters or setting. The opening of the second chapter is a scene set in a courtyard; this is where we are introduced to Aldo Raine, leader of The Basterds. Aldo Raine is an overrepresentation of a US Army soldier from Texas, played by Brad Pitt. The characters somewhat immature personality and over played accent are exaggerated greatly, almost to a comical level as he commands The Basterds to collect him 100 Nazi Scalps, a ridiculous request that almost mocks their aims and presents Nazi killing almost as a game. This is a postmodern element within the scene, as the although the scene is played out in perfectly serious manner, the content of the scene itself is so farfetched that it almost creates an underlying humour, which in turn shows that this is in fact not realistic at all and, again, reminds the audience of the fictional basis. The following scene in the chapter presents Hitler to the audience. The portrayal of this character is somewhat mocking as he performs a flamboyant and outrageously over-exaggerated outburst that ridicules Hitler entirely. The comedic performances throughout these scenes are distinctly contrasting to the serious and tension filled events of the first chapter, this is a postmodern feature as it emphasised the fictional basis of the narrative. The third scene in the second chapter is in another setting; here we see the event discussed between Hitler and a soldier in the previous scene. In this scene we see The Basterds ambushing a Nazi Patrol and interrogating one of the Nazi Sergeants, we are also introduced to Hugo Stiglitz and The Bear Jew; We also see a brief switch back to the setting with Hitler as a surviving soldier, behind which there is an electric guitar strum of a Blaxploitation track named Slaughter from the 1970s, another reference to the fictional narrative. The use of three separate settings within the second chapter is another contrasting element to the first scenes single location; this creates a faster pace within the chapter, diverting away from the spaghetti western influences and conforming more to the conventional fast paced narrative used within war films. However, the build up of tension as we wait for The Bear Jew to come and beat the Nazi sergeant is reminiscent of spaghetti western stand off, slow pace tension building. The moment in which the man is hit, the music stops. This emphasises the brutality of the violent beating, making it hard to watch; this has also been emphasised by the use of slow paced build up to the action. This is striking, as previous violence has been the expected gunshot scenes or violence thats so over-exaggerated its almost comedic; the action here is therefore Tarantinos way of displaying the brutality of war, but by doing this through the beating of one Nazi in a grotesque and brutal manner we are also made aware, as the audience, that this is fictional. This is also, however, a postmodern element, as it is realistic violence, thats not just brutal but in fact, although perhaps for the right reasons, violence with an impulsive and murderous mentality and therefore a very controversial element to include as it borders along the line of what is or isnt acceptable to show within a movie, even with a rating of 18. Chapter 3 returns to focus on Shoshanna, the girl who escaped in Chapter 1, and shows her older and as the owner of a cinema in Paris that her aunt left to her; it also introduces us to several new and important characters. Her we see Shoshanna meet Fredrik Zoller, a German soldier that she does not wish to involve herself with, but cannot push him away. Zoller finds her in a caf and proceeds to tell her of his achievements as a soldier and a war hero set to star in a movie about him called Nations Pride. Within this chapter, in a later scene, Shoshanna is taken to a restaurant, to which she has been summoned by Zoller, and it is announced that the premier of Nations Pride is to be held at Shoshannas cinema and Hitler will attend. Upon hearing this news she is introduced to Josef Goebbels, whose name is displayed in large yellow letters that create a pause in the action and remind the audience this is fictional. After this, Hans Landa enters and introduces himself to Shoshanna, and we see a flash back to the opening chapter in which Shoshanna escapes from Hans Landa after he kills her family. This flash back helps to make the link between who she is and tells the audience that she recognises him. Here, the

audience are kept in suspense and tension as they wait to see if he recognises her too. Subtle references are made to the opening chapter throughout this scene, such as the ordering of a glass of milk, but it is never made clear whether or not he knows who she is, keeping both Shoshanna and the audience unknowing. In chapter 4 we are introduced to Operation Kino and see the enlistment of Archie Hicox a German speaking English soldier who will join the Basterds and gain them support from the British military. The opening scene of chapter 4 shows Hicox being briefed on his mission by General Fenech, a character played by Mike Myers; this is a postmodern element in itself as Myers is best know for his roles in humours films, and most commonly his role in Austin Powers, as opposed to war films, therefore, Tarantino again makes reference to another genre. Later in the chapter we see Hicoxs mission unfold as him and some of the Basterds meet with a German film star, Bridget Von Hammersmark, in a German tavern. However, their cover is blown and they are shot down by Nazis; much like Chapter 1, the shooting is at the very end of the scene and is built up throughout by dialogue and tension in spaghetti western stand off style silences. Although this is both a serious and key scene in the plot, there are also comedic elements to it, showing us a postmodern perspective. The final chapter in the movie brings all the characters to a single setting, the cinema. Here, Shoshannas plans to blow up the theatre and everyone inside unfold. A real postmodern statement is made in the chapters initial scene as Aldo Raine, Donnie, Omar and Bridget Von Hammersmark find themselves talking to Hans Landa. Here we see a cringe-worthy performance by Landa as he over-exaggerates his reaction to Von Hammersmarks story on how she hurt her leg, almost to a comedic extreme. We also see outrageous performances by Raine, Donnie and Omar as they disguise themselves as Italians; when they in fact make very little effort to appear very Italian at all. The final scene in the movie returns to the fairytale genre idea with which the film opened; this is portrayed through the location used, as it is set in a forest and this is setting that commonly associated with fairytales. We also see at the end of this scene, after all the action that takes place within the final chapter, that all 3 characters that remain are immaculately presented. Overall, I believe it is this blatant disregard of reality and entire focus on fictional narratives and fantasy reference, as well as obvious influence from varying genres, which make Tarantinos films unique and postmodern.