Django Unchained (2012) Film Analysis Postmodernism

Django unlaced (2012) Film Analysis PostmodernismDjango Unchained (Tarantino, 2012) set in Texas in 1858, deals with a variety of issues such(prenominal) as race, striverry, r change surfacege and violence. The convey sparked controversy worldwide and amongst critics. Filmmaker Spike lee side talks almost the fool away during an interview with Vibe magazineAll Im going to read is that its disrespectful to my ancestors. Thats adept me. Im not speaking on behalf of anybody else (2012).Tarantino argues that although the convey is so graphic and brutal, it does not comp are to the real- deport custodyt uncoveries and findings from the question into this topic. The film sugar coats the bo swelless happenings, as it leaves turn out eventual gory detailsWe all intellectually know the brutality and inhumanity of slavery, but after you do the research its 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 Im present to tell you, that nevertheless bad things get in the movie, a potful worse shit happened (Child, 2013).Django Unchained is a gruesome depiction of what life as a slave was comparable during 1858 pre-civil war Texas, as well as a glimpse of existence outside the slave diligence such as in Dr. force Schultzs (Christoph Waltz) case or the blotto Calvin Candie (Leonardo DiCaprio). It is a highly entertaining film which at the very(prenominal) time disturbs and thrills, while in addition incorporating a healthy dose of humour throughout.The advise of textual synopsis is but to critically analyse a piece of pic. As a research method, it groundwork be utilize to deconstruct the aim or overall meaning of the film. Focusing on elements such as annals structure, exposition, narrative voice and editing is important when using textual analysis. Mise-en-scene, setting, colour, tone, costume, sustain and lighting all play important roles in the examin ation process. A textual analysis approach allows the text to be thoroughly studied, for example, looking for patterns/relationships, finding the key/central themes and symbolic signifi screwce, as well as the shipway in which the auditory sense engage with the text, for instance, if an audience feel understanding or pleasure towards a certain part of the film. Monaco discusses the importance of visuals, describing that it is useful, even vital, to learn to read images well so that the observer tail stamp d throw some of the power of the medium (2000, p.159).I intend to examine the ways in which Django Unchained can be viewed as a postmodern text. Postmodernism is a critique of modernism, the idea that there is no set literary genre or structure no absolute truthPost-Modernism is fundamentally the discriminating mixture of any tradition with that of its immediate past it is two the extension of Modernism and its transcendence (Jenks,1996).Jean Baudrillard talks somewhat simulation, simulacra and hyper man. Baudrillard argues that the audience embody in an artificial world, drawn in by images and media this is not realism and leads to hyperrealityImages are no longer the mirror of reality, they abide invested the heart of reality and transformed it into hyperreality, where from screen to screen, the only aim of the image is the image. The image can no longer imagine the real because it is the real it can no longer transcend reality, trans compute it or dream it, since images are practical(prenominal) reality. In virtual reality, it is as if things had swallowed their mirror (Zurbrugg, 1997, p.12).Disneyland is an example of this as the alright line between reality and fantasy is unclear. Postmodern cinema contains a variety of features such as intertextuality, non-linear narratives, referentiality and motley. Frederic Jameson talks about the importance of pastiche in postmodern filmsPastiche is, like parody, the imitation of a unmated or uni que, idiosyncratic style, the wearing of a linguistic mask, speech in a dead language. But it is a neutral practice of such mimicry, without any of parodys ulterior motives, amputated of the satiric impulse, devoid of laughter (Jameson, 1991).Django Unchained demonstrates features of postmodern conjecture and this is oft the case with Tarantinos work, as described by RehlingTarantino is chiefly considered the postmodern filmmaker par excellence repayable to his penchant for intertextual allusions (2010, p.203).The film follows the horizontal surface of a bounty hunter (previously employed as dentist) Dr. King Schultz, who is searching for a trio of men named The Brittle Br differents. Schultz understands that Django (Jamie Foxx) is familiar with the brothers as he was once a slave to them, and realizes he must unacquainted(p) Django for him to assist Schultz on the journey. Schultz mentors Django, and offers to pay him for his services while helping Django to go away as a ba rren man. The pair acquire finding and cleanup spot various wanted men. Django explains he wishes to rescue his wife Broomhilda Von Shaft (Kerry Washington), and is determine to find her. Schultz agrees to help Django on his mission to release Broomhilda, who they later discover is a slave of Calvin Candie at his plantation CandieLand. The two men begin their journey to CandieLand and adopt a strategy in the hope to free Djangos wife.The film has been described as a spaghetti western due to the summation of violence involved as well as a Blaxploitation film. The important hero of the film is Django, a black grapheme, and this contrasts with other 19th vitamin C Western movies where the central hero is often white, such as nates Waynes character in The Searchers. It is also uncommon for a German character to be shown as the hero in this film genre. Djangos of import object is to locate and save Broomhilda from the slave trade. Although the film is violent in nature, rummy relief is used throughout, for example, when Broomhilda faints at the sight of Django after he says Hey short(p) troublemaker, to which Schultz replies you silver tongued devil, you. Pastiche is unmistakable when the Klansmen are preparing for a raid. The men bicker over the quality of the masks provided for them and this allows the spectator to laugh or dismission fun at the characters. Humour is used as a beak to help the audience cope with gory imagery and the overall veto themes.Hyperreality is clear in Django Unchained as the film mimics a put on world. Schultz tells Django about the famous German myth concerning a princess named Broomhilda who is held in immurement by a fierce dragon, until she is finally saved by her hero. This relates to Djangos main objective to free his wife and adds to the fairy-tale concept. Calvin Candies estate is referred to as CandieLand which has rather demonstrable connotations however the harsh reality is that CandieLand is where Broomh ilda and other slaves are kept as prisoners. Another aspect of postmodernity deep down Django is the intertextuality used, such as the reference to other films. The 1966 film Django is referenced firstly with the films title and actor Franco Nero (1966 Django) plays a cameo role. During Django and Schultzs period within the Candie mansion, Nero asks Django how he spells his name. Django replies that the letter d is silent, to which Nero replies, I know. It then becomes evident why Neros character is important and his presence may spark oddment in the viewer. In addition, Broomhilda Von Shaft is a reference to the Blaxploitation film Shaft. The soundtrack within the film is somewhat mismatched, combining a variety of different genres, and this seems unmatched due to the historical period when Django is set. Costume design stands out greatly, oddly during the scene were Schultz encourages Django to pick his own clothes. His first freedom outfit is lush and the blue suit imitate s to the famous painting The Blue Boy (Gainsborough, 1770). This mimicking exit encourages a postmodern feel, and the notion of bricolage or that nothing is infinite everything in existence is a copy of itself.Gender in cinema is meaning(a) and Django Unchained represents gender in different ways. Laura Mulvey (1975) talks about the potent seeThe determining young-begetting(prenominal) gaze projects its phantasy on to the distaff person figure which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and sexy impact so that they can be said to connote to-be-looked-at-ness (Mulvey, 1975, p.62).Mulveys theory can be applied to Django Unchained as the fe manly characters do not have demanding roles or are depicted as damsels in distress. Mulvey talks about woman as image, man as bearer of the look (1975, p.62) implying the notion that female characters are admired by a male audience solely down to their physical appearance.The male characters keep the film contemptible forward as Django and Schultz lead the story, while supporting males are significant to the plot such as Calvin Candie and Stephen (Samuel L. Jackson). The viewer may appreciate the visuals provided by the female however can relate more to the male charactersvoyeuristical visual pleasure is produced by looking at another (character, figure, situation) as our object, whereas narcissistic visual pleasure can be derived from identification with the (figure in the) image (Smelik, 2001, p.9).Throughout Django, the female image is displayed in soft lighting, supporting a sense of beauty and romanticism. During these moments, for example, the hallucinations Django has of Broomhilda, the viewer appreciates the imagery and momentarily shifts away from the narrative, as the female characters appearance tends to work against the development of a story line, to freeze the flow of action in moment s of erotic contemplation (Mulvey, 1975, p.62).Although Broomhilda is implausibly important to Django, her character alone is not of importance. We watcher Broomhilda macrocosm whipped and trounce however it seems we are not so concerned about her social welfare but more so the way in which this affects Djangos actions. at that place is an underlie notion that the women in the film are the property of the male characters (Broomhilda belongs to Django, Lara Lee (Laura Cayouette) belongs to Calvin Candie, etc.). The female characters have little dialogue compared to the male characters, implying the idea that they should be seen and not heard. It can however be argued that Broomhilda is strong and independent, due to the fact she has endured endless torture and suffering since Django has been apart from her. In addition, she has attempted to hunt CandieLand without the help of Django.Mulvey describes female objectificationWoman displayed as sexual object is the leit-motif of e rotic spectacle from pin-ups to strip-tease, from Ziegfeld to Busby Berkeley, she holds the look, plays to and signifies male desire (1975, p.62).At CandieLand, Schultz asks for alone time with Broomhilda due the fact she is fluent in German. Django had predicted earlier that she was being used as a comfort girl (a slave for sex). There is the suggestion that Schultz is expecting a sexual encounter with Broomhilda and this view is held by everyone at CandieLand aside from Django. It becomes apparent that the women are sexual objects for men and this should not be questioned but rather expected. Schultz realises that if he does not pretend this is indeed his intention with Broomhilda, there may be suspicions about him and Djangos presence. We see Broomhilda being removed from the hot box, as she is naked and continues to scream. This contrasts with the next time Broomhilda is seen she has been dressed up to appear fair and presentable for Schultz emphasising the idea that her purpo se is only to be looked at and her execution from earlier is unacceptable. Lara Lee is shown in a similar way, as she often appears doll-like and attractive, wearing elaborate dresses. She acts elegant and polite around the male characters, as though to impress them. Laura Lees behaviour relates to the idea of fetishism and the notion of these women being hyper-polishedFetishizing the woman deflects attention from female lack and changes her from a dangerous figure into a reassuring object of flawless beauty (Smelik, 2001, p.11).Sadism is introduced in the film this is the belief that the woman should be penalize or forced to assay forgiveness within the narrative. An example of this is during the scene when Broomhilda is asked to undress and reveal her scars to the crowd of men in the room. Candie is determined to remind Broomhilda of her place at CandieLand, ensuring she and those in the room understand that Broomhilda belongs to him. He has branded her physically with these s cars, and she has evidently been punished through such torture. She is also continuously being punished through the fact she must show herself to these men.Once Djangos identity is discovered, he wakes up to realise he has been tied upside down. A man enters, explaining he is to be castrated using a hot knife. This scene stands out as the man reveals he has received these orders from Lara Lee. This highlights male fears around the female presence the woman is viewed as a danger or curse as well as male anxiety regarding castration.Classic cinema solves the threat of castration in one of two ways in the narrative structure or through fetishism (Cook Bernink, 1999, p.354).The black male characters are objectified in Django Unchained, for example, during the Mandingo fighting scene. Candie demands these black slaves to fight one another, for his own pleasure. The men are dressed with little clothing and like the females, do not have any dialogue in the film nor are they given names. They are simply there to be looked at for Candie to witness them fighting. The men often grunt throughout, implying the notion that they are animals or beasts used only to fight, as though they are being trained like dogs, which also dehumanizes them. The audience observe the fight from Candies objectifying point of view with tokenish flashes of Django or Schultzs reactions, to restore the understanding of how cruel this act is. Within Candies eat room, a marble statue of two naked men fighting can be seen. Once Schultz meets Broomhilda and explains the escape plan to her, Django appears at the door however he is filmed in a seductive manner. The camera begins at Djangos feet and slowly moves upwards, scanning over his entire body. This allows the viewer to look at Django and examine him closely before dialogue is heard, and technique is unusual as it would normally be used for a female characterThere is, in other words, a specific and even ritualized form of male objectification and eroticization in Hollywood cinema (Weems et al., 2010, p.83).There may be a somewhat homoerotic relationship between Candie and his loyal and oldest house slave Stephen. Stephen always supports Candie and appears desperate to please him or win his respect. Stephen is not dismayed to disagree or argue with Candie, which is evident when Django arrives and Stephen is appalled that he has the resembling rights as a white man. Candie states that he grew up in a house full of niggers, which portrays that Stephen has perhaps raised Calvin and a further moderateness behind their closeness. Within CandieLand, Stephen has not suffered or been tortured in the same way other slaves have, and thus sees Django as a threat to his position. It can be argued that Stephen may be suffering from Stockholm Syndrome or has simply become brainwashed as his life at CandieLand is all he has ever known.To conclude, Django Unchained is a well written film which deals with an set out of issues througho ut. The film is evidently postmodern in nature, as it presents aspects of postmodern theory such as intertextuality. It can be argued that Mulveys argument relating to the male gaze is apparent due to the representation of female characters in Django, and the way in which they differ from the male characters, for example, having little dialogue or action/purpose within the films narrative. Male objectification however also manifests itself in Django, and thus the sexualisation of both genders is noticeable.ReferencesBealer, T. (2013) Did Quentin Tarantinos Feminism Take a Step Backwards in Django Unchained? Online lendable http//www.genderfocus.com/2013/01/07/did-quentin-tarantinos-feminism-take-a-step-backwards-in-django-unchained/ Accessed 9 March 2017.Child, B. (2012) Django Unchained Wins Over Black earreach Despite Spike Lee Criticism. The Guardian. 3 January. Available https//www.theguardian.com/film/2013/jan/03/django-unchained-spike-lee Accessed 8 March 2017.Cook, P. and Bernink, M. (1999) The Cinema Book. 1st ed. London British Film Institute.Doyle, H. 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