‘Gettin’ Dirty’: Tarantino’s Vengeful Justice, the Marked Viewer and Post-9/11 America

Andrew Schopp argues that the representation of morality and history in Inglorious Basterds (2009), Django Unchained (2012) and The Hateful Eight (2015) is a particularly complicated and distinctly post-modern one, inherently connected to the American vision of the world after 9/11. His analysis of Tarantino's texts from the perspective of justice, civilisation and revenge make an invaluable contribution to existing commentaries on Tarantino's work. He also considers their status as allohistorical narratives (commonly referred to as alternative history) which encompasses an awareness of the fact that Tarantino’s films are seemingly divided into a unified diegetic world in which a significant number of his characters reside (see Reservoir Dogs [1992], Pulp Fiction [1994], Inglorious Basterds, Django Unchained and The Hateful Eight) and the films that these characters might go to see in this alternate universe (Death Proof [2007], Kill Bill: Volume One [2003], Kill Bill: Volume Two [2004]). On the surface a range of interrelated strands connect his films like the branding of Red Apple cigarettes, characters being related to each other i.e. the Vega brothers in Pulp Fiction and Reservoir Dogs, Sergeant Donny Donowitz in Inglourious Basterds being the father of filmmaker Lee Donowitz in True Romance (1993), and recently ‘English’ Pete Hickox in The Hateful Eight being an ancestor of Archie Hickox in Inglorious Basterds, but this fluidity is complicated even further both by Tarantino’s liberal appropriation of material from other sources as inspiration and they way the films seem to both reflect, engage and even comment on each others' narratives.