Sian Lynes In what ways can Inglorious Basterds be considered postmodern?

'Inglorious Basterds' demonstrates Tarantino's signature post modernist directive style that alters the audience's perception of war and the typical conventions seen within the genre. Tarantino distorts the world within his film, continually reminding the audience that it is a hyper reality and by extension post modern. The use of yellow text for subtitles and titles challenges the conventional white colour choice, identifying Tarantino's signature style and distancing himself from modernist war films. Tarantino also intended the film to be a precursor to 1967 war film 'The Dirty Dozen' which also adopts yellow text. The film's title is an example of intertextuality and was originally from an 1978 Italian war film 'Inglorious Bastards'. The film also uses bricolage as the introduction of the film entitles "Once upon a time in Nazi-occupied France..." which is a direct reference to the traditional fairytale genre. This could be considered postmodern as 'Nazi-occupied France' contrasts the utopian form of a fairytale narrative and is not what is thought of as an idealistic situation. This also manipulates how the audience are inclined to perceive the film and as a result do not expect this use of hypotextuality, adhering to Genette's theory of genre, as it is not an element used in stereotypical war films. In addition to this, Tarantino divides his film into chapters which is presented to the audience which reminds them of the hyper real world the character's are in. The music adopted by Tarantino within the film can be considered postmodern as mixtures of musical genres and from different eras are used to both reference other films as well as create a blur of reality within the film. This can be seen in the opening scene of the film as Tarantino uses the song 'The Green Leaves of Summer' which originally featured in the 1960 spaghetti western 'The Alamo'. By adopting music not synchronic to the WW2 time period Tarantino could arguably be reflecting Levi Strauss' theory of bricolage by using addition to extend his work by breaching the bounds of the war genre. This generic assumption is also challenged again when David Bowie's 'Cat People' and title song for the 1982 film Cat People during Shoshanna's preparation for the Nazi premiere of 'Nation's Pride'. The song is clearly not synchronic to the time and Bowie's iconic voice alongside guitar creates a distinct contrast in the scene. This scene is also in line with the typical femme fatale characterisation seen in films, where seductive women are often led into dangerous situations; reminiscent of Shoshanna's determination to appear mysterious but inflict injury among her enemies. Overall this postmodern element of combining music from a later film from the time period of Inglorious Basterds allows Tarantino to input rather different emotions to represent the characters; as well as the challenge the emotions expected by the audience from what they recognise originally from the war film genre. This scene in which Shoshanna is seen preparing her make-up before her final act of destruction also gives the impression of a soldier preparing himself for his final battle. Again, this could be considered postmodern as Tarantino uses hypotextuality by modifying the typical scenario of a war film and applying it to a contrasting situation (in this case Shoshanna). Within this scene and also in the opening scene, Tarantino adopts a bird's eye view of the film set as Shoshanna makes her way across the cinema hall ways (often panning across it) exposing the construction of walls and the layout of the rooms. This again reinforces the post modern aspect of the film as the deconstruction of the films set reminds the audience that the world the characters are set in is completely fictional and in no way realistic. By being

Sian Lynes self reflexive as Tarantino refers to the construction of his text in this way it again reinforces the postmodernist techniques used towards the audience. In the opening scene the camera suddenly drops from a level shot of Pierre Lapadite's home to underneath the floorboards. This intentional feature is designed to shock the audience, not only to build tension as to seeing Jews hiding in fear under the floorboards, but exposing them to the unexpected transition from a state of trust to a disequilibrium of lies. The opening chapter also references 1965 film 'The Sound of Music', which is similarly set during a struggle to resist Nazism. The iconic scene of Swiss mountains is reflected around the setting of Pierre Lapadite's house however there is obvious contrast in the calm setting of the Alps against the sinister emotion arising during the arrival of Hans Landa. Again, this could be considered a postmodernist element as the hypotextuality, adhering with Genette's theories of Genre, transforms the structure of the film beginning with an immediate disequilibrium rather than the equilibrium which begins within 'The Sound of Music'. Tarantino challenges the audience's preconception of a war film by the incorporation large amounts of dialogue, particularly within Chapter One between the two characters Pierre Lapadite and Hans Landa. Among conversational topics discussed are milk, the survival of a rat in comparison to 'the Jew' and Landa's thoughts on his new empowering position as Nazi Colonel. All of which continue to build tension, however this is a feature not convention of war films, which often taken preference to violence to settle democratic matters. Yet, Hans Landa uses this democratic approach through speech to achieve his goals which could be considered postmodern as it is an unusual stance within the genre. The scene also demonstrates Tarantino's preference to dramatic and over the top performances. For example, the Colonel drinks a whole glass of milk in one go with loud gulps. A rather long period of time goes silent as he also takes out his pipe, prepares it, lights it, inhales it and then exhales it. Tarantino could also be referencing the symbolic use of the pipe by renowned detective Sherlock Holmes; showing again intertextuality that goes against typical war films. Such mannerisms exaggerates Hans Landa's character and demonstrates the hyper reality that Tarantino sets out to create as such behaviour would often not be seen in other war films and within reality. As the Colonel appears to leave and the Nazi soldiers enter the home of Lapadite synchronous sound of high pitched violins is reminiscent of the horror film genre, again reflecting the postmodern aspect as Tarantino uses this intertextuality to create an element of hyper reality. This purposeful elongation of time is a feature seen within horror films and is not one use in war films as time often comes in the form of quick violence to resolve situations. Personally, I also view war films as an expectation to see continuing action and this scene challenges this convention. Fiske's development of Barthes' semic code supports this as the audience has retrieved previous cultural knowledge from war films, such as Saving Private Ryan, which enables the audience to recognise the postmodern features of film. As the first chapter ends the audience witness the escape of Shoshanna. The framing of the shot only allows the audience to view the action through the exterior of the doorway, with the interior darkened purposely to draw the audience's attention toward to action. Tarantino directly references the ending of 1956 American western film 'The Searchers' showing John Wayne's character slowly walking away from the house. The contrast of resolution of John

Sian Lynes Wayne's character at the end of the film against the irresolution of Shoshanna running for her life from Hans Landa emphasises the hypertextuality. With the introduction of the Basterds and Aldo Raine in chapter two this continuation of hyperreality is expressed again through the behaviour of the characters. Primarily, Tarantino purposefully requested that Brad Pitt accentuate the Tennessee accent who continually voices his motives throughout the film. Aldo Raine and the Basterds present no empathy towards their enemies or weakness in terms of emotion when carrying out their Nazi killings. This again distorts the connection between reality and fantasy as the characters show no state of empathy and instead become rather impassive to the idea of death. This view point towards violence is again extremely hyperreal which is quite the opposite to modernist texts such as Saving Private Ryan where both the characters and the audience face the realities of war, including death. This disconnection with real human emotion is a reoccurring characteristic throughout the film, most predominantly also with Hans Landa who sees death as a job and has no sympathy for who he kills, such as the Jews. The deletion of emotion also allows for a more humorous connotations to be carried out in the film and detaches the audience from the seriousness of the situations. For example, the introduction of Huge Stiglitz in the form of a montage to inform the audience quickly of the amount of killings he has carried out. The almost ludicrous methods of killing, such as him sticking his fist down a Nazi's throat in combination with the 1970s blaxploitation song 'Slaughter' by Billy Preston adds a rather comical feel to death. This homage to the blaxploitation film genre during the 1970s reflects Stiglitz's 'revenge' on the Nazis, similar to that of the black man rising against the brutality of oppression to take revenge on the white man. In addition, Stiglitz's efforts are glorified, perhaps portraying the popularised blaxploitation music and culture of the time. Although this is not the only example of revenge in the film which plays a key component throughout, again it demonstrates the postmodernist elements of disjointed ideology. During this montage, Tarantino uses Samuel L. Jackson's as a voiceover to narrate and inform the audience of Hugo Stiglitz background story and his significance to the Basterds. Tarantino always manages to feature Samuel L. Jackson within his film, a stylistic feature which can be recognised by his audience. The voiceover however provides the audience with an almost 'breaking the fourth wall experience' as the narrator speaks to directly inform the audience. This opposes the conventional narrative by interrupting the linear narrative with a dramatic change in scene. Postmodernist elements are featured here to reinforce the unconventional war film elements which the audience are typically used to seeing. It also reminds the audience again that the film is fictional. This disjuncture in narrative is again repeated with Jackson's voiceover on a British Information Film reel informing about the flammability of the produced nitrate films. The nature of the violence could also be considered postmodern as it challenges the typical heavy gunfire and battlefield locations that the audience are culturally aware of. In order to create a more surreal and entertaining form of violence, Tarantino is renowned for his graphic use of violence. Most significantly, this is seen with Aldo Raine's preference to scalping Nazis and requested them to be collected. The sounds associated with the violence is also emphasised, with the squelching of blood and tissue and cracking of bones. This can be seen most interestingly through the 'Bear Jew' who lacks any emotion or resistance to killing.

Sian Lynes Therefore this again, like Hans Landa and Aldo Raine, moulds a emotionless connection with death going against modernist approaches to war. As previously mentioned, Tarantino's comical approach to war is seen through his depiction of Hitler. In typical war films, Hitler is commonly depicted as an evil yet formidable character almost difficult to defeat; which brings about a glorious victory. However, Hitler is parodied to be weak and humiliated, trying to deny and twist the deaths of Nazi soldiers by Hugo Stiglitz. By adopting a comical approach this could be considered a postmodernist feature as it goes against a typical war film which focuses centrally on the seriousness of war itself. The continual reference to other texts is also evident when Chapter Three introduces Fredrick Zoller, a glorified German hero to Shoshanna, who had escaped the mutilation of Nazi Colonel Hans Landa in Chapter One. The love that Zoller develops for Shoshanna is quickly picked up on by the audience with his persistence to woo her. This challenges typical war films, as although they feature romance, it may often be both soldier and woman falling in love for another. However, this is immediately opposed as Shoshanna pushes him away. Although their opposing ideologies, Zoller's high ranking German position and the secret Jewish blood of Shoshanna is reminiscent of the opposing rivalries of the Montague and Capulet families in Romeo and Juliet. This may have been a foreshadow as in the final chapter as both die side by side such as in the ending of the tale. Here, Tarantino deliberately used intertextuality to modify the storyline to provide postmodernist elements and change the audience's expectations of the characters. The tavern scene refers significantly to the conventions of a spaghetti western. With the introduction of Bridget von Hammersmark, metatextuality is used by Tarantino to explicitly mention other films of the time period during the game with other soldiers, such as King Kong. The convention of dialogue is adopted again, like in Chapter One, to build up tension before the action. As Hicox is sussed out as being a British soldier speaking German the violence is again extremely exaggerated with both enemies pointing their guns to each other's testicles which seems outlandish. The shot of the bartender cleaning the glass with a white cloth and reach for his hidden gun is a direct reference to the spaghetti western genre. Again, this is a post modernistic style as Tarantino adopts a mixture of conventions to create an almost alien situation. The shoot out that follows is extremely dramatic and reflects the taverns of American westerns. In the following scene, Aldo Raine questions von Hammersmark on an animal operating table. This again is reminiscent of the gangster film genre, where the gangsters would often use the medical equipment of a veterinary surgeon to avoid being captured in the doctors. This is considered a form of bricolage as the audience would socially recognise it as 'debris' from this particular genre. Aldo Raine's disregard for the pain of von Hammersmark is displayed as he sticks his finger in her gun wound to her leg. This disconnection of empathy again is significant of a postmodernistic approach. Although graphic, the audience are assured by Raine's and the Basterd's impassive approach that despite this she will survive this ordeal. This could be considered postmodern as in war films, the audience's viewpoint often becomes subjective as they do not know whether the maimed will die or not.

Sian Lynes The fairytale theme is continued as Hans Landers questions von Hammersmark about her rather peculiar alibi as to how she has her foot in her cast. Tarantino has a particular foot fetish which is demonstrated in this scene, as close-ups are shown of von Hammersmark's feet as Hans Landa inspects her foot. As Hans Landa takes off her shoe, this again reflects the fairytale concept of Cinderella, as he matches the missing shoes from the tavern with her foot. This becomes a socially recognisable debris as it becomes Tarantino's own reference to himself. Overall, the combination of manipulated and graphic violence with the carefully selected intertextuality and references to other texts play a large part in the postmodernistic style of this film. The clear blurred reality of war results in a film that opposes the modernistic utopian approach.