DOCSLIB.ORG

Inglourious Basterds

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Inglourious Basterds PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI THE STUDY OF CODE-SWITCHING IN QUENTIN TARANTINO’S MOVIE: INGLOURIOUS BASTERDS A SARJANA PENDIDIKAN THESIS Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education By Ajeng Bisana Pradhipta Student Number: 141214024 ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2018 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI THE STUDY OF CODE-SWITCHING IN QUENTIN TARANTINO’S MOVIE: INGLOURIOUS BASTERDS A SARJANA PENDIDIKAN THESIS Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education By Ajeng Bisana Pradhipta Student Number: 141214024 ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2018 i PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI A Sarjana Pendidikan Thesis on THE STUDY OF CODE-SWITCHING IN QUENTIN TARANTINO'S MOVIE: INGLOURIOUS BASTERDS By Ajeng Bisana Pradhipta Student Number: 141214024 Approved by Advisor Date Truly Almendo Pasaribu, S.S., M.A. 7 June 2018 11 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI A Sarjana Pendidikan Thesis on THE STUDY OF CODE-SWITCHING IN QUENTIN TARANTINO'S MOVIE: INGWURIOUS BASTERDS By AJENG BISANA PRADHIPTA Student Number: 141214024 Defended before the Board ofExaminers on 11 July 2018 and Declared Acceptable Board ofExaminers Chairperson : Yohana Veniranda, S.Pd., M.Hum., M.A., Ph.D. Secretary : Christina Lhaksmita Anandari, Ed.M. Member : Truly Almendo Pasaribu, S.S., M.A. Member : Christina lbaksmita Anandari, Ed.M. Member : Drs. Y. B. Gunawan, M.A. and Education ill PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI STATEMENTS OF WORK'S ORIGINALITY [ honestly declare that this thesis, which I have written, does not contain the work or parts of the work of other people, except those cited in the quotations and references, as a scientific paper should. Yogyakarta, 11 July 2018 The Writer, Ajeng Bisana Pradhipta 14[2[4024 IV PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI LEMBARPERNYATAANPERSETUJUAN PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS Yang bertanda tangan <Ii bawah ini, saya mahasiswa Universitas Sanata Dharma: Nama : Ajeng Bisana Pradhipta Nomor Mahasiswa : 141214024 Demi pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan Universitas Sanata Dharma karya ilmiah saya yang berjudul: THE STUDY OF CODE-SWITCHING IN QUENTIN TARANTINO'S MOVIE: INGLOURIOUS BASTERDS beserta perangkat yang diperlukan (bila ada). Dengan demikian, saya memberikan kepada Perpustakaan Universitas Sanata Dharma hak untuk menyimpan, mengahhkan da1am bentuk media lain, mengelo1anya dalam bentuk pangkalan data, mendistribusikan secara terbatas, dan mempublikasikannya di Internet atau media lain untuk kepentingan akademis tanpa perlu meminta ijin dari saya maupun memberikan royalti kepada saya selama tetap mencantumkan nama saya sebagai penulis. Demikian pemyataan ini yang saya buat dengan sebenamya. Dibuat di Yogyakarta Pada tanggal: 11 Juli 2018 Yang menyatakan Ajeng Bisana Pradhipta v PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ABSTRACT Bisana Pradhipta, Ajeng. 2018. The Study of Code-Switching in Quentin Tarantino’s Movie: Inglourious Basterds. Yogyakarta: English Language Education Study Program, Department of Language and Arts Education, Faculty of Teachers Training and Education, Sanata Dharma University. Code-switching is a sociolinguistic phenomenon which commonly happens in our daily lives. It is a condition where someone switches from one language or simply one code to another intentionally or unconsciously. Code- switching might happen in a bilingual or multilingual society because sometimes people find difficulties to say something in their native languages when there are no certain words or utterances which match what they aim to say. Code-switching is also commonly found in several mass media and entertainment, such as in the movies. This research analyzes the code-switching phenomenon in Quentin Tarantino’s movie entitled Inglourious Basterds. There were two research questions to be answered in this research. They were 1) what are the types of code-switching done by the characters in Quentin Tarantino’s movie Inglourious Basterds? and 2) why do the characters in Quentin Tarantino’s movie Inglourious Basterds use code-switching? The method used to answer those two research questions was descriptive qualitative method. The researcher used document analysis technique to analyze the data. The primary instrument was the researcher. The steps in conducting the research were choosing the suitable movie, making the transcript of the movie, listing the conversations containing code-switching phenomenon in the movie, analyzing the types of code-switching found in the movie, analyzing the possible reasons for code-switching in the movie, and drawing the conclusions. Based on the findings, there were 47 cases of code-switching occurrences in the movie Inglourious Basterds. The most frequent type of code-switching found in the movie was inter-sentential situational code-switching. The most frequent reason for code-switching phenomenon found in the movie was code- switching to talk to a certain participant. Code-switching is a common linguistics phenomenon in our society. Understanding the meaning and the appropriate usage of code-switching can help people to learn and improve language skills. People will be able to understand the meaning behind code-switching phenomenon uttered by other speakers and to use code-switching in the appropriate term and condition. Keywords: code-switching, document analysis, movie vi PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ABSTRAK Bisana Pradhipta, Ajeng. (2018). The Study of Code-Switching in Quentin Tarantino’s Movie: Inglourious Basterds. Yogyakarta: Program Studi Pendidikan Bahasa Inggris, Jurusan Pendidikan Bahasa dan Seni, Fakultas Keguruan dan Ilmu Pendidikan, Universitas Sanata Dharma Alih kode merupakan fenomena sosiolinguistik yang umum terjadi di masyarakat. Alih kode merupakan suatu keadaan dimana seseorang merubah bahasa atau kode mereka dari yang satu ke yang lain dengan sengaja atau tanpa disadari. Alih kode dapat terjadi di masyarakat dwibahasa atau multibahasa karena terkadang seseorang mengalami kesulitan untuk menyatakan sesuatu dalam bahasa asli mereka ketika tidak dapat menemukan pernyataan yang sesuai dengan apa yang ingin mereka utarakan. Alih kode juga sering ditemukan dalam media masa dan hiburan, seperti dalam film. Penelitian ini menganalisa fenomena alih kode di dalam film karya Quentin Tarantino yang berjudul Inglourious Basterds. Terdapat dua buah pertanyaan yang akan dijawab dalan penelitian ini 1) tipe alih kode apa saja yang terdapat di film karya Quentin Tarantino yang berjudul Inglourious Basterds? dan 2) mengapa karakter di film karya Quentin Tarantino yang berjudul Inglourious Basterds menggulakan alih kode? Metode yang digunakan untuk menjawab kedua pertanyaan tersebut adalah metode penelitian deskriptif kualitatif. Peneliti menggunakan teknik analisis dokumen untuk menganalisa data yang telah terkumpul. Instrumen utama merupakan peneliti sendiri. Beberapa langkah yang dilakukan peneliti adalah memilih film yang tepat untuk penelitian ini, membuat transkrip film, mendata kalimat percakapan yang menguandung unsur alih kode, menganalisa tipe alih kode apa saja yang terdapat dalam film, menganalisa alasan alih kode apa saja yang terdapat dalam film, dan menyusun kesimpulan. Berdasarkan hasil penelitian, terdapat 47 kasus alih kode di dalam film Inglourious Basterds. Tipe alih kode yang paling banyak ditemui adalah inter- sentential situational code-switching. Alasan alih kode yang paling banyak ditemui di dalam film adalah alih kode untuk berbicara dengan orang tertentu. Alih kode merupakan fenomena kebahasaan yang umum di masyarakat. Memahami pengertian dan penggunaan alih kode secara tepat dapat membantu mempelajari dan meningkatkan kemampuan berbahasa. Kita akan mampu memahami arti dibalik fenomena alih kode seseorang dan cara menggunakan alih kode yang sesuai. Kata kunci: code-switching, document analysis, movie vii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ACKNOWLEDGEMENTS In this opportunity, I would like to express undying gratitude towards Jesus Christ for His never-ending blessings during my study in Sanata Dharma University. I would also like to deliver my sincerest gratitude towards my thesis advisor, Truly Almendo Pasaribu, S.S., M.A. for her guidance and encouragement throughout my journey while writing this thesis. I would like to convey my gratitude towards all the lecturers of English Language and Education Study Program for the support, knowledge and experience given to me during my study in Sanata Dharma University. I would like to express my gratitude towards my parents, Martinus Suko Widhiasto and Theresia Probo Wardhani and my sisters, Maya Dwi Pratita and Indira Anindha Maharani for their endless prayer and support throughout my life. I would like to thank my friends Egi, Mira, Disty, Lisa, Chatharina, Ve, Vito, Krisna, Aji, Bayu, Bimo, Jere, Rizki, Maria, Prita, Martin, Tata for their support and motivation during my studies and my life journey. Ajeng Bisana Pradhipta viii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI TABLE OF CONTENTS TITLE PAGE ..........................................................................................................
Load more

Recommended publications
  • RESISTANCE MADE in HOLLYWOOD: American Movies on Nazi Germany, 1939-1945
    1 RESISTANCE MADE IN HOLLYWOOD: American Movies on Nazi Germany, 1939-1945 Mercer Brady Senior Honors Thesis in History University of North Carolina at Chapel Hill Department of History Advisor: Prof. Karen Hagemann Co-Reader: Prof. Fitz Brundage Date: March 16, 2020 2 Acknowledgements I want to thank Dr. Karen Hagemann. I had not worked with Dr. Hagemann before this process; she took a chance on me by becoming my advisor. I thought that I would be unable to pursue an honors thesis. By being my advisor, she made this experience possible. Her interest and dedication to my work exceeded my expectations. My thesis greatly benefited from her input. Thank you, Dr. Hagemann, for your generosity with your time and genuine interest in this thesis and its success. Thank you to Dr. Fitz Brundage for his helpful comments and willingness to be my second reader. I would also like to thank Dr. Michelle King for her valuable suggestions and support throughout this process. I am very grateful for Dr. Hagemann and Dr. King. Thank you both for keeping me motivated and believing in my work. Thank you to my roommates, Julia Wunder, Waverly Leonard, and Jamie Antinori, for being so supportive. They understood when I could not be social and continued to be there for me. They saw more of the actual writing of this thesis than anyone else. Thank you for being great listeners and wonderful friends. Thank you also to my parents, Joe and Krista Brady, for their unwavering encouragement and trust in my judgment. I would also like to thank my sister, Mahlon Brady, for being willing to hear about subjects that are out of her sphere of interest.
    [Show full text]
  • INGLOURIOUS BASTERDS) - MASTER MATRIX Features
    Work Package 2 Text analysis and development WP Leader: Universitat Autònoma de Barcelona Anna Maszerowska Anna Matamala Pilar Orero Date: 8/2/2013 This project has been funded with support from the European Commission. This report reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein. Work Package 2 Deliverable 1. Introduction After gathering all the information regarding user needs, and detailed information abut audio description in Europe from WP1. This WP expects to go beyond that which has already been investigated, but only partially answered, with regard to What can be described? What should be described – scenes, characters, plot? What should not be described? How objective should the description be? What register of language should be adopted on what occasions? Thus the early objective, having taken stock of all that is valid in the current situation across Europe, in this WP we go further into the questions raised above and find criteria that will be useful across all language combinations and all kinds of material to be described ranging from film to opera to live events such as royal weddings. The use of eye-tracking technology, psychological studies and systemic linguistic investigation are examples of the kind of innovative approaches that will be brought to bear. Under WP2 (text analysis and development) all partners carried out extensive text analysis on a unique text. This is the first deviation from the original project proposal approved. After much debate amongst partners in face to face meetings (Munich March 2012) and the weekly online meetings (Mondays) it was decided to look for one common text which may contain most genres and problems.
    [Show full text]
  • Inglourious Basterds' Premiere
    id Software's Wolfenstein™ to Co-Sponsor the 'Inglourious Basterds' Premiere --Historic Gaming Franchise Set to Join Forces with Quentin Tarantino to Fight the Third Reich SANTA MONICA, Calif., July 28, 2009 /PRNewswire-FirstCall via COMTEX News Network/ -- Activision Publishing (Nasdaq: ATVI) and id Software have signed-on for the highly-anticipated Wolfenstein to be a title sponsor of The Weinstein Company and Universal Pictures International's upcoming feature film by Quentin Tarantino, "Inglourious Basterds." As an official sponsor, Activision will conduct a contest for two lucky winners to attend the "Inglourious Basterds" Hollywood premier at the historic Grauman's Chinese Theater on August 10. The prize pack includes two roundtrip tickets for a four day - three night stay in Los Angeles, two tickets to the premier and two tickets to the star-studded after party at Mondrian in West Hollywood. Check http://www.GameSpot.com for contest details, which begins today. The assault on the Third Reich kicks-off with the newest chapter of the famed Wolfenstein franchise hitting U.S. store shelves on August 18, and a second wave continues the fight with "Inglourious Basterds" going nation-wide in theaters August 21. About Wolfenstein Wolfenstein brings the Nazi's dark obsession with the occult to life, by intertwining fast-paced, intense story-driven combat with a diverse sci-fi experience. As BJ Blazkowicz, a highly decorated member of the Office of Secret Actions (OSA), you are sent on a special mission into the heart of the Third Reich to investigate evidence that the SS hierarchy may possess a new and mysterious power.
    [Show full text]
  • Inglourious Primates: Grandes Símios Entre O Objeto
    “INGLOURIOUS PRIMATES”: GRANDES SÍMIOS ENTRE O OBJETO, O MODELO E O OUTRO DO HUMANO 1 Beto Vianna (UFMG, Brasil) - [email protected] Rubén Gómez-Soriano (UAM, Espanha) - [email protected] Resumo A primatologia é uma disciplina desenvolvida, voltada para o estudo de uma só ordem zoológica. O grupo estudado faz jus ao nome Primata, “principal”, em deferência ao humano. Exatamente por seu membro ilustre, no entanto, os primatas não-humanos perdem como objetos de inquirição na razão direta de sua valorização como modelos de nossa espécie. Os grandes símios (gorilas, chimpanzés, bonobos e orangotangos) são um caso limite da atenção ao humano pelo caminho da primatologia. Nossos parentes mais próximos tornam-se o outro natural na definição de uma natureza humana, ou operadores antropológicos de identidade (Despret, 2006). No discurso e na prática científica, grandes símios podem ser, a um só tempo, símiles fisiológicos do humano e, cognitivamente, uma versão imperfeita de nós mesmos. Essa dupla condição traz implicações distintas segundo o quadro conceitual, as condições experimentais, o contexto sócio-histórico e as relações particulares estabelecidas entre o símio o observador humano em cada investigação. Neste trabalho, analisamos contextos experimentais e teóricos que oferecem distintas versões dos grandes símios, implicando versões correspondentes do humano. Uma maneira de repensarmos a agência dos seres vivos envolvidos e as relações co-constituintes entre grande simios e humanos, a partir do conceito de antropozoogênese (Despret, 2004b). Palavras-chave: primatologia, grandes símios, antropozoogênese Introdução Na cena inicial de Inglourious Basterds , de Quentin Tarantino (2009), o coronel da Schutzstaffel (a SS), Hans Landa, interroga o fazendeiro francês Perrier LaPadite sobre uma família judia suspeita de esconder-se em sua casa.
    [Show full text]
  • Diane Kruger: Tailor-Made for 'Basterds'
    16 發光的城市 A R O U N D T O W N FRIDAY, AUGUST 21, 2009 • TAIPEI TIMES FILM REVIEW OTHER RELEASES COMPILED BY MartiN WILLiams Sing It! (唱歌吧!) This Taiwanese documentary is being released with little warning or advertising, but the timing is crucial. A Bunun Aboriginal school principal, who cannot read music and has a sports education background, leads the local elementary school choir to national fame and a recording deal. As always, there are challenges along the way, including relationships with parents back home. But the events onscreen now have new currency given that the choir’s home village, Dongpu (東埔) in Nantou County’s Xinyi Township (信義), was badly hit by Typhoon Morakot — making this 64-minute film a valuable time capsule. Starts tomorrow. G-Force ‘Inglourious Basterds’ G-Force is a part- computer animated, contains all the things part-live action thrill Tarantino fans like, ride about a bunch of guinea pigs and other but its emotional rodents who team up to defeat an evil big core and bigness of businessman who spirit are new wants to take over the world using a bunch of malevolent gadgets. This is Jerry Bruckheimer territory, BY STEVE PERSALL not Pixar, so expect exhaustion and kiddie crudity, not NY TIMES NEWS SERVICE, ST PETERSBUrg reflective or genuinely emotional moments. Screening in 3D in selected theaters, and featuring the voices of Nicolas Cage, Penelope Cruz and Steve Buscemi. Coco Before Chanel This French biopic tracks the childhood and early adult life of Chanel founder Gabrielle “Coco” Chanel, delving into how the fashion innovator who created an empire grew out of a cabaret performer and emotional recluse.
    [Show full text]
  • Kathleen Singles Alternate History Narrating Futures
    Kathleen Singles Alternate History Narrating Futures Edited by Christoph Bode Volume 5 Kathleen Singles Alternate History Playing with Contingency and Necessity The research leading to these results has received funding from the European Research Council under the European Community’s Seventh Framework Programme (FP7/2007–2013) / ERC grant agreement no. 229135. Dissertation, Ludwig-Maximilians-Universität München, 2012. ISBN 978-3-11-027217-8 e-ISBN 978-3-11-027247-5 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de . © 2013 Walter de Gruyter GmbH, Berlin/Boston Typesetting: PTP-Berlin Protago-TEX-Production GmbH, Berlin Printing and binding: Hubert & Co. GmbH & Co. KG, Göttingen ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Content 1 Introduction | 1 1.1 Contexts: Alternate Histories and Future Narratives | 1 1.2 Methodology | 4 1.3 Proceedings and Theses | 6 1.4 Selection of Primary Sources | 10 1.4.1 Medium vs. Genre | 10 1.4.2 The International Spectrum | 11 2 The Poetics of Alternate History | 14 2.1 ‘History’ in Alternate History | 26 2.1.1 The Postmodern Challenge to History | 26 2.1.2 Referentiality: Possible-worlds Theory | 33 2.1.3 ‘History’ as the Normalized Narrative of the Past | 43
    [Show full text]
  • Schutzstaffel from Wikipedia, the Free Encyclopedia
    Create account Log in Article Talk Read Edit View history Schutzstaffel From Wikipedia, the free encyclopedia "SS" redirects here. For other uses, see SS (disambiguation). Navigation The Schutzstaffel (German pronunciation: [ˈʃʊtsˌʃtafәl] ( listen), translated to Protection Main page Protection Squadron Squadron or defence corps, abbreviated SS—or with stylized "Armanen" sig runes) Contents Schutzstaffel was a major paramilitary organization under Adolf Hitler and the Nazi Party (NSDAP). It Featured content began at the end of 1920 as a small, permanent guard unit known as the "Saal- Current events Schutz" (Hall-Protection)[1] made up of NSDAP volunteers to provide security for Nazi Random article Party meetings in Munich. Later in 1925, Heinrich Himmler joined the unit which had by Donate to Wikipedia then been reformed and renamed the "Schutz-Staffel". Under Himmler's leadership (1929–45), it grew from a small paramilitary formation to one of the largest and most [2] Interaction powerful organizations in the Third Reich. Built upon the Nazi ideology, the SS under SS insignia (sig runes) Himmler's command was responsible for many of the crimes against humanity during Help World War II (1939–45). The SS, along with the Nazi Party, was declared a criminal About Wikipedia organization by the International Military Tribunal, and banned in Germany after 1945. Community portal Recent changes Contents Contact page 1 Background SS flag 1.1 Special ranks and uniforms Toolbox 1.2 Ideology 1.3 Merger with police forces What links here 1.4 Personal control by Himmler Related changes 2 History Upload file 2.1 Origins Special pages 2.2 Development Permanent link 2.3 Early SS disunity Page information 3 Before 1933 Data item 3.1 1925–28 Cite this page 3.2 1929–31 3.3 1931–33 Print/export 4 After the Nazi seizure of power Adolf Hitler inspects the Leibstandarte SS Adolf Hitler on 4.1 1934–36 Create a book arrival at Klagenfurt in April 1938.
    [Show full text]
  • Inglourious Basterds AUDIENCE (2009) 87 Liked It Average Rating: 3.9/5 User Ratings: 761,324
    Inglourious Basterds AUDIENCE (2009) 87 liked it Average Rating: 3.9/5 User Ratings: 761,324 Movie Info A group of hardened Nazi killers stalk their prey in Nazi- occupied France as a Jewish cinema owner plots to take down top-ranking SS officers during the official premiere of a high-profile German propaganda film. As far as Lt. Aldo Raine (aka “Aldo the Apache,” Brad Pitt) -- is concerned, the only good Nazi is a dead Nazi. Raine's mission is to strike fear into the heart of Adolf Hitler by brutally murdering as many goose-steppers as possible, or die trying. In order to accomplish that goal, Lt. Raine recruits a ruthless team of cold-blooded killers known as "The Basterds" which includes baseball-bat- wielding Bostonian Sgt. Donnie Donowitz (aka "The Bear Jew," Eli Roth) and steely psychopath Sgt. Hugo Stiglitz (Til Schweiger), among others. When the Basterds' secret rendezvous with turncoat German actress Bridget von Hammersmark (Diane Kruger) goes awry, they learn that the Nazis will be staging the French premiere of "The Nation's Pride," a rousing propaganda film based on the exploits of German hero Fredrick Zoller (Daniel Brühl), at a modest theater owned by Jewish cinephile Shoshanna Dreyfus (Mélanie Laurent), posing as a Gentile after the brutal murder of her family by the ruthless Col. Hans Landa Theatrical release poster (Wikipedia) (Christoph Waltz). As the Basterds hatch an explosive TOMATOMETER plan to take out as many Nazis as possible at the premiere, they remain completely oblivious to the fact All Critics that Shoshanna, too, longs to bring the Third Reich to its knees, and that she's willing to sacrifice her beloved 89 theater in the process.
    [Show full text]
  • Quentin Tarantino, 'Inglourious Basterds'
    H-German Nichols on Director: Quentin Tarantino, 'Inglourious Basterds' Review published on Wednesday, October 21, 2009 Director: Quentin Tarantino. Inglourious Basterds. Miramax, 2009. Distributed by the Weinstein Company (US) and Universal Pictures (International). Film. Rated R for strong graphic violence, language and brief sexuality. Running time: 153 minutes. Reviewed by Bradley Nichols (University of Tennessee-Knoxville) Published on H-German (October, 2009) Commissioned by Benita Blessing Inglorious Vengeance Fantasies Few films offer the same controversial, radical reinterpretation of the historical-war film as Quentin Tarantino's Inglourious Basterds, a masterfully entertaining, tragicomic satire on the nature of group hatred and violence. Set in Nazi-occupied France during the Second World War, the film follows a group of Jewish American soldiers, "the basterds," as they rampage throughout the countryside led by Lt. Aldo Raines (Brad Pitt), killing and mutilating German soldiers. Engaged in a secret plot to kill Hitler, the basterds cross paths with Shosanna Dreyfus (Mélanie Laurent), a French-Jewish girl in hiding, who is seeking vengeance on the Nazis after the murder of her family by brutal SS Colonel Hans Landa (Christoph Waltz). When Shosanna strikes up a reluctant acquaintance with Pvt. Fredrick Zoller (Daniel Brühl), a famous German war hero, the latter convinces Josef Goebbels to screen the premiere of his new propaganda film depicting Zoller's adventures in the Paris movie theater she operates. The stage is thus set for the separate machinations of Shosanna and the basterds to come to fruition in a spectacularly violent penultimate scene, in which they murder Adolf Hitler, Josef Goebbels, and a score of other Nazi luminaries during the premiere of the film within the film.
    [Show full text]
  • Universal Pictures International the Weinstein Company Matt Moss Sara Serlen +33 493 99 07 53 646-862-3812 [email protected] [email protected]
    Press Contacts : International Press Contact: Domestic Press Contact: Universal Pictures International The Weinstein Company Matt Moss Sara Serlen +33 493 99 07 53 646-862-3812 [email protected] [email protected] INGLOURIOUS BASTERDS Written and Directed by Quentin Tarantino Produced by Lawrence Bender Executive Producers Erica Steinberg Lloyd Phillips Executive Producers Bob Weinstein Harvey Weinstein Co-Producers Henning Molfenter Carl L. Woebcken Christoph Fisser Associate Producer Pilar Savone Director of Photography Robert Richardson, ASC Production Designer David Wasco Costume Designer Anna B. Sheppard Special Makeup Effects by Gregory Nicotero and Howard Berger Visual Effects Designer John Dykstra Casting by Johanna Ray & Jenny Jue (US), Simone Bär (GER), Olivier Carbone (FR) Edited by Sally Menke, A.C.E. The Weinstein Company and Universal Pictures Present A Band Apart A Zehnte Babelsberg Film GmbH Production A Film by Quentin Tarantino 2 INGLOURIOUS BASTERDS Synopsis In the first year of the German occupation of France, Shosanna Dreyfus (Melanie Laurent) witnesses the execution of her family at the hand of Nazi Colonel Hans Landa (Christoph Waltz). Shosanna narrowly escapes and flees to Paris where she forges a new identity as the owner and operator of a cinema. Elsewhere in Europe, Lieutenant Aldo Raine (Brad Pitt) organizes a group of Jewish American soldiers to perform swift, shocking acts of retribution. Later known to their enemy as “the basterds,” Raine's squad joins German actress and undercover agent Bridget von Hammersmark (Diane Kruger) on a mission to take down the leaders of the Third Reich. Fates converge under a cinema marquis, where Shosanna is poised to carry out a revenge plan of her own...
    [Show full text]
  • Tarantino's Inglourious Basterds: a Blueprint for Dubbing Translators?
    Document generated on 09/24/2021 6:40 p.m. Meta Journal des traducteurs Translators' Journal Tarantino’s Inglourious Basterds: a blueprint for dubbing translators? Nolwenn Mingant De la localisation à la délocalisation – le facteur local en traduction Article abstract From Localization to Delocalization – The Local Factor in Translation Released in 2009, Quentin Tarantino’s Inglourious Basterds is representative of Volume 55, Number 4, décembre 2010 a recent trend of multilingual films in Hollywood. The inclusion of one or several languages other than English can be problematic for dubbing URI: https://id.erudit.org/iderudit/045687ar translators when the films is exported. The comparison between the original DOI: https://doi.org/10.7202/045687ar version of Inglourious Basterds and its French dubbed version offered in this article brings to light a number of translation issues. The idea of the codified relationship with the audience leads us to explore notions of conventions, See table of contents contrivances, and suspension of disbelief, whether in the native language or original subtitling included in the American version. Dubbing is not only translating, it raises the issue of the texture of the original voices, especially in Publisher(s) a film preoccupied with accents. Finding French voices with an equivalent texture but which are also plausible for the audience is a challenge that the Les Presses de l'Université de Montréal dubbing team must meet. Finally, the vital importance of languages in the narrative and thematic construction of Tarantino’s film result in the inevitable ISSN loss due to the dubbing process. This article is not an attack on the dubbing 0026-0452 (print) process, but an attempt to interrogate its complexity and determine its role.
    [Show full text]
  • Chapter I Introduction
    CHAPTER I INTRODUCTION A. Background of the Study People always interact with his or her society in their whole life. So they always face problems. People have their own way to solve their problems both internal and external. In some case, they cannot solve their problem as it is clueless, so anxiety begins up. Anxiety as one of the psychological problems can occur when people who have problem cannot overcome it. This happens because there is pressure from the society. Then they cannot express their own feeling or even speak up. People express their anxiety through their body language such as sweaty, quick heart-beating or even they cannot control behave when they acting and their tongue when they are speaking. Anxiety represents a repetition of the earlier traumatic experience, but in miniature form in the represent has relation to an earlier danger because it does not recall. When the individual feel threatened with being overwhelmed by impulses, it results anxiety. Generally an individual gives way action to the unpleasant feeling and destructive instinct that never happen before and it becomes an anxiety. Pervin states that “basically anxiety develops out of a conflict between the push of the Id instinct and the threat of punishment by the superego” (Pervin, 1970: 80). Hall and Lindzey states “It can disturb as well 1 as comfort and satisfy, and when we are not prepared to cope with threats, we may become afraid or anxious However, anxiety is an interesting object not only for psychoanalyst or author of novel but also for movie director.
    [Show full text]