Travels, territories and borders
Ancrage and Legacy
T2 Perrine Cullin Bultez
To what extent is Hollywood a mirror of society?
Document 1 : 12 Angry Men by Sidney Lumet - movie (illustrated by its movie poster) Document 2 : The Grapes of Wrath by John Steinbeck - extract Document 3 : The Great Gatsby by Baz Luhrmann - trailer Document 4 : Captain America comics No.78 draw by John Romita for Marvel Comics - poster Document 5 : Quentin Tarantino defends depiction of slavery in Django Unchained written by Andrew Pulver for The Guardian - article
Document 1
12 Angry Men by Sidney Lumet, 1957 movie
Document 2
The Grapes of Wrath by John Steinbeck extract
J. Steinbeck, The Grapes of Wrath, 1939
Document 3
The Great Gatsby by Baz Luhrmann, 2013 trailer
Document 4
Captain America by Marvel Comics, 1954 poster
Document 5
"Quentin Tarantino defends depiction of slavery in Django Unchained" by The Guardian article
Director tells Bafta audience that, violent as his revenge western may be, the reality of slavery in the deep south was 'far worse'
Quentin Tarantino defended his decision to make slavery the backdrop to his new revenge-western Django Unchained, saying that he found the research he did on the subject "incredibly shocking" and that, violent as his film may be, the reality was "far worse".[...] "We all intellectually 'know' the brutality and inhumanity of slavery", Tarantino said "but after you do the research it's no longer intellectual any more, no longer just historical record - you feel it in your bones. It makes you angry, and want to do something... I'm here to tell you, that however bad things get in the movie, a lot worse shit actually happened."
"When slave narratives are done on film, they tend to be historical with a capital H, with an arms-lenght quality to them. I wanted to break that history-under-glass aspect, I wanted to throw a rock through that glass and shatter it for all times, and take you into it." [...] "I did a lot of research particularly in how the business of slavery worked, and what exactly was the social breakdown inside a plantation: the white families that owned the houses, the black servants who worked inside the house, the black servants that were in the fields, and the white overseers and workers that were hired to work there."
A. Pulver, 2012. "Quentin Tarantino defends depiction of slavery in Django Unchained",The Guardian
Oral LLCE - Hollywood
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Transcript
Travels, territories and borders
Ancrage and Legacy
T2 Perrine Cullin Bultez
To what extent is Hollywood a mirror of society?
Document 1 : 12 Angry Men by Sidney Lumet - movie (illustrated by its movie poster) Document 2 : The Grapes of Wrath by John Steinbeck - extract Document 3 : The Great Gatsby by Baz Luhrmann - trailer Document 4 : Captain America comics No.78 draw by John Romita for Marvel Comics - poster Document 5 : Quentin Tarantino defends depiction of slavery in Django Unchained written by Andrew Pulver for The Guardian - article
Document 1
12 Angry Men by Sidney Lumet, 1957 movie
Document 2
The Grapes of Wrath by John Steinbeck extract
J. Steinbeck, The Grapes of Wrath, 1939
Document 3
The Great Gatsby by Baz Luhrmann, 2013 trailer
Document 4
Captain America by Marvel Comics, 1954 poster
Document 5
"Quentin Tarantino defends depiction of slavery in Django Unchained" by The Guardian article
Director tells Bafta audience that, violent as his revenge western may be, the reality of slavery in the deep south was 'far worse'
Quentin Tarantino defended his decision to make slavery the backdrop to his new revenge-western Django Unchained, saying that he found the research he did on the subject "incredibly shocking" and that, violent as his film may be, the reality was "far worse".[...] "We all intellectually 'know' the brutality and inhumanity of slavery", Tarantino said "but after you do the research it's no longer intellectual any more, no longer just historical record - you feel it in your bones. It makes you angry, and want to do something... I'm here to tell you, that however bad things get in the movie, a lot worse shit actually happened."
"When slave narratives are done on film, they tend to be historical with a capital H, with an arms-lenght quality to them. I wanted to break that history-under-glass aspect, I wanted to throw a rock through that glass and shatter it for all times, and take you into it." [...] "I did a lot of research particularly in how the business of slavery worked, and what exactly was the social breakdown inside a plantation: the white families that owned the houses, the black servants who worked inside the house, the black servants that were in the fields, and the white overseers and workers that were hired to work there."
A. Pulver, 2012. "Quentin Tarantino defends depiction of slavery in Django Unchained",The Guardian