Tarantino uses the theme of the oppressed becoming the oppressor in both Django Unchained and Inglourious Basterds. I incorporated this into my script and keyframes as I felt that this was a crucial theme in the studied texts. I incorporated this theme by using Penny, a previously abused wife gaining revenge over her violent husband. My keyframes begin in the disruption/resolution Scene 8, however the previous scenes portray Penny's violent, oppressed past to align the spectator with Penny. This incorporates another typical Tarantino theme; stylised violence.
My textual analysis also explores how costume juxtaposes stereotypical characteristics. In the films, Tarantino uses costume to convey a hyper-masculine stereotype of a Nazi solider. However as the scene progresses his pride and masculinity from the costume results in his death, ultimately emasculating him. In my film Penny is dressed in conventional feminine clothing such as the red shift dress, lipstick, broach and heels, whilst Stan wears blue manual worker's overalls. The character's costumes in my film juxtapose their personality as we observe Penny develop a strong, psychotic violence in the keyframes, leaving Stan to become physically and emotionally emasculated.
My textual analysis also explores how Tarantino creates stylistic violence by using everyday items as weapons. The theme of the oppressed becoming the oppressor is reinforced by the use of weapons that the previous oppressor employed. We see this in the 'Bear Jew' scene in Inglourious Basterds and the whip used in the 'Brittle Brothers' scene in Django Unchained. Stylised violence is also prominent in my own film as Penny uses objects such as a washing line and dishcloth to inflict suffering and kitchen items with which she had previously been abused with. These objects are not traditionally associated with violence which links to the conventions explored in my textual analysis.
I have used an isolated, domestic setting for my film, linking to aspects explored through my textual analysis without impacting the narrative. The previous scenes in the film are examined through Penny’s perspective, which coerce sympathy towards her. Similarly in Django Unchained and Inglourious Basterds the protagonists are followed throughout the film, which results in a justification of their violent actions towards their oppressors. As the spectator gains a sense of enjoyment and fulfilment, the violence becomes further stylised. Penny's backstory follows these terms and through the abuse inflicted by Stan, the audience learns to justify her actions and sympathise with her new gained strength and power.
Tarantino's theme of castration and emasculation by shooting, or threatening to shoot the male oppressor's crotch is a key theme of the texts that I have studied. We witness this through the 'Mexican stand off' scene in Inglourious Basterds and the final scene in Django Unchained. This has been incorporated into my film, and drives a resolution. Stan's castration leaves him emotionally and physically emasculated, whilst ensuring Penny gains the power and control that Stan once enjoyed. The use of phallic imagery also becomes more prominent in the keyframes since Stan's castration to subtly, but ironically hint at his emasculation and Penny's new power. This is depicted with the knife, running water and cigarette scene in keyframes 7, 8 & 11.
My textual analysis also highlights the use of orchestral, instrumental scores in the two Tarantino films. I incorporated Ray Charles 'I can't stop loving you' to portray Penny's mental state and to distract the audience whilst Stan is castrated. Similar to the texts, the non-diegetic sound is harshly interrupted and Bobby Hamilton 'Crazy eyes for you' signifies Penny's new strength and power.
I was initially going to set my film in the IKEA display kitchens, however after visiting, I realised that prominent restrictions would have a negative impact upon the narrative.
I wanted to portray a realistic 1960s aesthetic to the domestic setting in my keyframes. The setting located at 28 Cowdrey Court, DA1 2PL epitomised a genuine 1960s atmosphere with authentic items from this era. The kitchen and the living room are both set in this house, which ensured the process of taking the key frames ran smoothly and allowed the actors to get into character much more quickly. Overall, I feel that the location suited my script and aims of my creative artefact successfully.
I feel that the script and keyframes achieved a successful, creative artefact by using the typical themes and styles contained in Django Unchained and Inglourious Basterds. I believe I have used an optimum amount these themes and styles without over-indulging, which may have resulted in a poor imitation, generic copy of Tarantino’s work. I also feel that I have written the script and backstory sufficiently to suit the Tarantino criteria and edited the keyframes to a high standard, ensuring a realistic and professional result (the smoke from the cigarette in keyframe 11 for example).
If I were to repeat this task or suggest improvements to myself I would set the film in America, to enable a greater use of Tarantino-style dialogue. I felt that I could not convincingly incorporate this language into a script set in 1960’s England, as it would make the environment and historical context feel anachronistic. I may also suggest to my future self to stick within the 9 keyframes. I did not do this as I felt that I could not convey all of the significant points in the narrative.
Overall, I believe that my script and keyframes were successful in achieving the aims and purpose that were proposed and that I have incorporated many codes and conventions explored in my textual analysis without creating an exact replica of the two studied texts.
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