The result differs starkly from the majority of films examining the deeply significant and indelible events of World War Two.
Chapter The film’s postmodern approach is evident within the first few seconds . It opens with the song “The green leaves of summer, which features a spaghetti western sound and sets the tone for the first scene. The first non- dietetic text on screen reads, ‘Once upon a time in occupied Europe’, an homage to fairytale.
- Thesis Statement
- Structure and Outline
- Voice and Grammar
This homage is satirical as fairytale are not frequently associated with war, and it hints that Attraction is in fact developing an adolescent fantasy.The first chapter of the film lacks a great deal of continuity. A heartwarming French countryside is shown as beautiful music plays. As the camera pans it frames a grey convoy of Nazi vehicles rolling through the countryside.
The process of counteracting heartwarming elements with more sinister is called discontinuity. Again, Attraction’s style comes through in his use of yellow subtitles. He uses floorboards to create tension and alert the audience to the threat of Colonel Hans Land. The miss- en-scene of the home is critical when analyzing the opening scenes.
There is a Lear statement that this house is not real, due its role in developing our fantasy. While Inglorious Bastards is a war film, it is important to note that it does not follow traditional film structures in relation to war. Instead of violence and loud sounds we are subjected to long conversations that develop the films narrative.
The exaggeration of Colonel Hans Land quickly shapes him into the films villain. The Colonel is extremely disingenuous in his dialogue because he is there for one purpose, to kill Jews. When drinking his milk, Land takes large gulps, making him seem extremely calm.Colonel Land’s calm nature in concerning, he is comfortable talking about killing Jews. The portrayal of Land fuels our anger and develops our fantasy of revenge. The long shot of Showman’s escape is popularized from western films. Once again discontinuity occurs in relationship to the beautiful countryside and the murder of Showman’s family. Chapter II Chapter two introduces us to the Bastards.
Lieutenant Aledo Rain, the leader of the dastards, is a charismatic southerner enamored with killing Nazis. The dreamlike mystery of the Bastards is illustrated by Lieutenant Rain’s hysterics large scar.This emphasizes the lack of emotion in the film, which deletes any idea of human frailty. This emphasizes the blur between reality and fantasy. Hitter’s portrayal adds humor to the film.
He is shown to be both weak and juvenile, which is emphasized by the intertwined scalping and tantrum scene. The comical elements of this scene counteract what we frequently associate with war films. War films frequently utilize battle scenes to illustrate the gruesomeness of war, but Attraction uses scalping to fill this gap. Flashbacks were used to interrupt the narrative concerning the German,Hugo Stilling. The flashback is another element of postmodernism. In showing Hog’s name in yellow font on the screen, Attraction reminds the audience they are watching a film, not something real, further emphasizing the film’s fantasy backbone. Nan-dietetic music is used to introduce Stilling as we witness him murder several Gestapo officers. The electric guitar along With Stilling violent nature solidifies him as a juggernaut.
Chapter Ill In chapter three We are reintroduced to Shannon while spaghetti Western music is played. We are then introduced to Frederick Cooler, a German soldier.Their dialogue focuses on cinema, which is a key element to the storyline and the reason for Osler’s interest in Shannon. Seller meets Shannon again at a French Cafe© and explains his significance to her. Cooler gives information in relation to the film Nation’s Pride, a movie that pays homage to his war efforts. It is at this point that the audience becomes cognizant of Showman’s plans revenge. Yellow text again appears on the screen for the freeze shot used to introduce Josef Gobbles, again reminding the audience that this is a film.A postmodern element of the narrative occurs after the introduction of Gobbles’ in which Showman’s thoughts are shown.
She thinks of Gobbles and his mistress having sex, shown comically in a short cut away shot. Attraction’s deletion of Showman’s emotion is very postmodern; despite being an innocent girl whose family was viciously murdered by the Nazis, her reaction upon seeing one of the top Nazi officers is comical. A further narrative disjuncture is shown at the end of the chapter when Shannon and her partner discuss burning down the cinema because of what Nazis did to her family.An old public information film comes to show how nitrate films are ere flammable and can provide a means to execute Showman’s revenge. A postmodern element is the voice over used during the explanation of nitrate, provided by Samuel L Jackson. Chapter IV Chapter four introduces the main British character, whose over-the-top accent is similar to those of other characters in the film, such as Lieutenant Rain. He is first shown in a stereotypical British room, so large each shot only shows one man, which extends the view Of the room.
The upper-class accents of the other two men emphasize both their importance as well as their tropically British identities. Their charm and wit further advances this generalized British characterization. The basement scene introduces Bridget von Hammerheads, whose beauty and stylishness make her an unlikely character to be found in a war film. They play a game which reference contemporary popular culture and she allows a Nazi officer to play it alongside the Bastards. Extended dialogue again serves as a substitute for action. This dialogue creates tension, which builds into violence.
But even the tension is offset by the comical nature of the men aiming weapons at each there’s testicles, humoring the audience. Attraction again emphasizes a western feel by showing the barman reaching for a shot gun hidden below the counter when the gunfire starts. The fights postmodern nature can be seen in its speed and brutality. The shooting scene in the basement leads into a scene in a veterinarian’s home.
They Bastards play the role of gangsters, afraid of the ramifications of taking their gunshot victims to real doctors. The injury Von Hammerheads gets from the fight is played down to remove emotion and fear from the film.The audience would anticipate this cane to be distressing due to the violence in the basement, but again Attraction uses humor instead. He does this by mocking the Bustards ability to speak Italian, which is critical to their new plan for infiltrating the theatre. Chapter V Chapter five showcases postmodernism by using another modern soundtrack. This knowledge allows us to identify Inglorious Bustards as a film that doesn’t follow the traditional war film concept.
Attraction also features a film within a film by taking a more traditional approach to it as a war film. The chapter then turns to Frederick visiting Shannon.Unlike the rest of the film, this scene is very war based. Battle music is played as Frederick approaches the room, indicating an action code to the audience. These war film features during a non-war related scene could be considered postmodern. The projection scene features postmodern elements such as the blur in-between reality and fantasy. This prevents the audience from seeing Frederick lying down after being shot and seeing his face on the screen, which makes Shannon sentimental enough to see if Fredrick’s alright.
Then the reality sets in as the German soldier responds turning over and shooting her.