Abstract The present project conducts a study of the experimental play with intertextual references present in postmodern movies. The project focusses on four movies made by the American auteur, Quentin Tarantino. His movies represent postmodern film tendencies and will illustrate how intertextual references contribute to a mixture of genres and the engagement of audiences. We make use of the term den medievante tilskuer with a view to describe the viewer who is familiar with the postmodern tendencies and knows what to expect from a postmodern film. By explaining how postmodern movies break away from the traditional way of understanding genre, we examine what impact the extensive use of intertextual references has on the audience. This involves both theories about genre conventions and narrative structures as well as different views of intertextuality and the effect of metafiction. We make use of Helle Haastrup and Roland Barthes in order to understand and summarize intertextuality, Lauridsen & Svendsen for understanding genres, while Per Helmer Hansen contributes to an understanding of postmodernism in general. Based on Tarantino’s Reservoir Dogs, Pulp Fiction, Inglourious Basterds and Kill Bill Vol. I, our analysis emphasize the fact that fragmented narrative structures as well as genre combinations and intertextual references establish a metatextual film universe. This creates new dynamic genres (as opposed to static genres) and challenges the attention of the audience and its engagement with the film. By discussing how the viewer engages with the movie, what happens when something known is seen from a new perspective and how intertextuality influenced the constitution of new genres, we found that the use of intertextuality contributes to revitalization of static genres.
|Uddannelser||Dansk, (Bachelor/kandidatuddannelse) Bachelor el. kandidat|
|Udgivelsesdato||21 jun. 2016|
|Vejledere||Hans Ulrik Rosengaard|