Dissertation Final Edit

Student:JonathanShelton
Course:BA (Hons) PopularMusicology
Roll Number:@00259206
Document:
Dissertation –‘A Basterdto Analyse:Anexplorationintothe
relationshipbetweenmusicandfilminQuentinTarantino’s
‘IngloriousBasterds’ (12,000words)
SubmissionDate:May8th
, 2013

JonathanShelton BA (Hons) PopularMusicologyLevel Six Dissertation
Universityof Salford1
A BASTERD TO ANALYSE:
AN EXPLORATION INTO THE RELATIONSHIP BETWEEN MUSIC AND FILM IN QUENTIN TARANTINO’S
INGLOURIOUS BASTERDS
Since the turn of the twentiethcentury,the worldof filmhasbecome one of the mostpopular,accessible and
commerciallyvaluable assetsof the cultural industries.Likepopularmusic,cinemahasdevelopedandtransformed
greatlyintoa vehicle transportedcommoditisedproduce forglobal audience toenjoyandcherish.Aswithanyformof
endeavour,those whopioneertheirspecificfieldbecome celebratedfortheircontributions.Take the audio-visualbody
of workby Americandirector/producer/screenwriter/actorQuentinTarantino.Tarantino’sbackcatalogue hasmet
enthusiasticcritical acclaimsince hisfirstofficial release of ReservoirDogs in1992 – an unconventional,intense
depictionof contemporaryAmericangangsterlife.Subsequentprojectsstabilizedhisreputation,astwoyearson Pulp
Fiction amassedglobal recognitionandanarray of prestigiousawards,andsince thenhistacklingof Blaxploitation
(JackieBrown) andchanbara cinema(Kill Bill Vol.I & II) eclipse one anotherasTarantino’smostprevalentwork.One can
identifyeclecticismwithinTarantino’srepertoire.Whilstexcellingcommercially,Tarantinohasconstructedfilmsthat
challenge the conventional practice of cinema.Hisuse andglorificationof violence hasbecome iconicandisa theme
referencedcontinuallyregardlessof genre.Hisnon-linearapproachtostructure,interweavingof storylinesandthinly-
textureddialogue are consideredasignature uponhisworks.Hiscastingcollaborationsinmostcaseshave beenfruitful
(regularlyworkingwithSamuel L.Jackson,UmaThurman,Tim Rothand Michael Madsenamongstsuccessful others),
and theyhave inno waybecome stockcharacter and prevailedintheirapproachestochallengingroles.
A keyexample of unconventional practice inTarantino’sworksisthe use of musicinhisfilms.Specifically,his use of pre-
existingpopularmusicforhisfilmscores. Aninterview in2003 withthe BBC displaysTarantino’smusical approach:
“I’ve always thought my soundtracks do pretty good, because they’re basically professional equivalents of a mix tape I’d make for you at home. To
me, movies and music go hand in hand. When I’m writing a script, one of the first things I do is find the music I’m going to play for the opening
sequence. I can’t go forward until I figure out how I’m going to start – what the opening mood music is going to be1”.
In ReservoirDogs,our firstmusical encounterisThe George BakerSelection’s“LittleGreenBag”and itsvisual pairingto
the Dogsis constructedastheywalkaway froma dinerintime to the rhythmof the track. In Pulp Fiction, upon
1 http://www.bbc.co.uk/films/2003/10/06/quentin_tarantino_kill_bill_volume1_interview.shtml

revealingthe unlawfulprofessionsof HoneyBunnyandPumpkin(burglars) visually,Tarantinoaidstheircause by
throwingusintothe highoctane surferrockanthem “Misirlou”byDick Dale and his Deltones. InKill Bill Vol.I, the first
track is NancySinatra’s“Bang Bang”, whichassistsin teachingthe audience of the bride (UmaThurman) andshaping
the beginningof hernarrative.It’snotjustan introductorytool forTarantino:lookingthroughhissoundtracks,one will
findT-Rex (Deathproof),BuddyHolly(Pulp Fiction),DavidBowie (InglouriousBasterds),Stealer’sWheel (ReservoirDogs),
BobbyWomack (JackieBrown) anda host of otherexamplesof popularmusic.
There are scholarlywritingsonthe musicof Tarantinofilms,butasWojcikand Knightconveyin“SoundtrackAvailable:
Essayson PopularMusic andFilm”,they’re notinabundance:
“No doubt many readers will be disappointed at not finding specific readings of specific films and soundtracks here: films by Martin Scorsese,
Quentin Tarantino and Spike Lee are only the most obvious examples. Apparently new forms of popular film music … still await analysis2 ”.
ConsiderTarantino’s2009 World War II thrillerInglouriousBasterds.Itisthe tale of an unconventional Jewish-American
secretarmy regiment,whoare droppeddeepbehindenemylinesinNazi-occupiedFrance,withaview toendthe war
and slaughterasmanyNazi’salongthe way as possible.Intandemtothis,the Jewish –FrenchDreyfusfamilyare hiding
beneathFrenchdairyFarmerPerrierLaPadite’sfloorboards;SSColonel HansLandaextractsthisknowledge fromthe
farmeron a routine Nazi visit,beforeinstructinghismentoshootthroughthe floorboardsatthe family.Shoshanna
Dreyfus,the daughterof the family,isthe onlysurvivor,andshe fleesintothe fieldsurroundingthe landandisallowed
to live byLanda.As the narrative progresses,we findherinParis,underanew name (Emmanuelle Mimieux) andthe
proprietorof a modestcinema,whichshe runswithherpartnerMarcel.The climax of the filmisreachedat Shoshanna’s
cinema,asPropagandaMinisterJosef Goebbelsholdsthe premieretohisnew film‘A Nation’sPride’there.The film
stars FrenchNazi-turned-filmstarFrederickZoller,whoduring hisservice killedthree hundredAmericansoldiersfroma
bell towerinItalyanddefeatedthe invasionalmostsingle-handedly.Allthe highestrankingofficersof the Nazisare in
attendance atthe premiere;the Basterdsundertake OperationKino,amilitaryoperationintendedtokill all Nazis
presentandthusendthe war.ParallelingthisisShoshanna’sownplansof vengeance,asshe intendstoburnall of her
nitrate filmatthe premiere,killingall inattendance. AsstandardTarantinopractice,these twostoriesweave intoone
2 Knight & Wojcik. 2001. Soundtrack Available: Essays on Film and Popular Music. DurhamandLondon:Duke UniversityPress.

another,inthe form of five chapters:‘Once Upona Time … InNazi-occupiedFrance’,‘InglouriousBasterds’,‘German
NightinParis’,‘OperationKino’and‘Revengeof the GiantFace’.
Thisdissertationwill studycertainsongsfromthe soundtrackof InglouriousBasterds.There are several reasonsforthis
choice. Initially, whenthisstudybegan,thiswasthe mostrecentTarantinofilmtodate3
. Fromhere,several important
discoverieswere made;primarily,the filmdiffersfrompreviousTarantinofilmsinthe representationof characters’
personal interactionwithmusic.The source of The George BakerSelection’s“Little GreenBag”in ReservoirDogs isthe
fictional radioshow K-Billy’sSuperSoundsof theSeventies whichthe characterslistentoanddiscussinthe opening
scene.Twocharacters in Pulp Fiction visita fictional diner‘JackRabbitSlims’ whichpayshomage tokeyfiguresfrom
popularmusicand culture fromdifferentera,suchasBuddyHolly,ElvisPresley,HankWilliams,toname a few;in Kill Bill
Vol.II we learnthat the bride’shusband-to-beowns recordstore whichthe pairplanto workin together.The listgoes
on; Tarantino’scharactersusuallylike Tarantino’smusic,butthe cultural inclinationsof the charactersof Inglourious
Basterds all directto a love of cinema.Notonlya love of cinema,butbarelyanyevidence of musical taste orintereston
the character’s behalves.The onlyinstancesinwhichwe see musicinthe worldof the film, or diegetic,are inchapter
three (German Nightin Paris):GestapoofficerDieterHellstrom escortsShoshannathroughaNazi restaurantto meet
GoebbelsandZollerandwe hearapplause afterRizOrtolani’s‘The Saloon’plays(althoughwe see nosuchperformer),
and chapterfour(Operation Kino):the same Gestapoofficerliftsthe needle onarecordplayer,inorderto impose on
the dispute betweenthree Basterdswhoare posingasNazisand a Nazi Staff Sargeant.Inchapter three’sreference,
theyare meetingtodiscussthe possibilityof holdingtheirpremiereatShoshanna’scinema;chapterfour’sdiegetic
example,the staff sergeantandhisregimenthave beengiventhe nightoff tocelebrate the birthof hischild.The
Basterdsare there meetingtheirdoubleagent,Germanfilm actressBridgetVonHammersmark;one of the Basterdsis
EnglishmanLt.Archie Hiccox,whoprimarilyisassignedthe role forhisabilitytospeakfluentGerman,butalsoas before
the war, he was a German filmcritic,havinghadwritingspublishedonthe subject.
Anotherkeyreasonforthe choice isthe film’ssettingandera.For once ina Tarantinofilm, we are detailedfromthe
beginninginsubtitlesof the yearandcountry we are in;if thischanges,thenwe are toldinsimilarcircumstances.These
usuallyappearinbetweenchapters,butthe backdropof WorldWar IImeansthe audience foronce don’treallyneedto
know.Thisismost realisticbackdroptoa Tarantinofilminhistory,andthispurelybecause WorldWarII tookplace.We
3 Havingnowbeen succeededby2012 Spaghetti WesternDjango Unchained.

are neverinformedin ReservoirDogs/Pulp Fiction/Jackie Brown etc.of locationortime period.For InglouriousBasterds,
we can safelyassume the audience will know the contextto the film.Whilstthe protagonistsare fictional,Tarantino’s
depictionsof HitlerandGoebbelsare strikinglysimilartothe authenticimagesthe audience will know of them.
Finally,choosingInglouriousBasterds overanyotherTarantinofilmisrational because of the filmssoundtrack.Despite
the overtlyreferencedenthusiasmforcinemaoncharacters’behalves,the filmstill hasnearlythirtymusical
accompanimentsthroughoutthe fivechapters.Study Figure1.1 inthisdissertation’sappendicesfordetailedevidence
of chapterlengthandmusical chapterlengthinthe film.There are several differentsongs,fromseveral different
genres,fromseveral differenterasandcountriesinthe soundtrack.RangingfrompopularGermansongsfromthe war
era to coversof Ray Charlesto DavidBowie,one cannotargue the vast array of music’sincluded. Furthermore,all of
these songsoriginallywere usedinotherfilms –westerns,Germanpropagandafilms,Americanhistorical epicsand
erotichorror films,Blaxploitationfilmsetc.Interestingly,none of the musicappearsinEnzoCastellari’s1978 Italianwar
filmTheIngloriousBastards,whichshareslittle commonalitywithTarantino’sfilmotherthanthe name and WorldWar
II context.
METHODOLOGY
The limitationsof thisstudycompromisehowmanysongsfromthe filmcanbe analysedeffectively.Therefore,
parametersneedtobe installedinordertoexpose the music’sfunctionalityandcapacitytofacilitate thatfunctionali ty.
Thisdissertationwill centre onthe ideologyof dualitiespresentwithinthe film’smusic;thismeanssongsthatappear
twice inthe film,orif an artist’stracksallude toa particularcharacter or chapter/scene,orif the musicitself refers to
anothermusical bodyof work.The decisiontoconstructsuch parametersbecame evidentafterreadingDavidDeacon’s
essay Why Counting Counts inResearch MethodsforCulturalStudies.Itencouragesthe use of quantitativeanalysisin
cultural studiesandsuggests“reluctanceto engagewith systematiccounting createsanalyticalvaguenessand even
internal contradictionsand logicalinconsistencies”.Deaconcontinuestodictate thatcontinuedoppositionagainstthis
notioncan have “restrictive implications4
”.The solidarityofferedinquantitative databalancesthe subsequentmassof
theoretical investigationsandconclusions:itaccountsforthe chosentext’sinclusionsandseversandpre -existingties
4 Pickering, M. 2008. Research Methods for Cultural Studies. Edinburgh:EdinburghUniversityPressLtd.

the conductor mayhave harbouredpre-examination.Inastudythat’snumericallylimitedinitliterarycontent,itseems
viable toapproachthe music’s inquestionwithasimilarmethodology.
Figure 1.2 profilesthe three songsthatappeartwice in InglouriousBasterds;all three will be includedinthe studyas we
progress. Thismakesforsix differentanalyses,aseachsongappearsin differentplacesalongthe narrative structure.
Eventhoughthese choicesare basednumerically,the lengthof theseexertsandtheirlocationsinvarying chapters
provide awiderspectrumthatoriginallyseemedpossiblethroughusingthree songs.
Anotherreasontoinclude TheBig Gundown Rare Earth’s‘What’dI Say’ inparticularisthat Rare Earth aren’tthe original
composers;the track isa RayCharlescover,althoughthe fragmentutilisedin InglouriousBasterds doesn’tconnotethis
as it’sa rhythmicpercussive loopandnothingelse.Whilstthistrackisthe onlycover throughoutthe soundtrack,itis
not the onlyone to sample anotherartist’smaterial;the firsttrackof the film, EnnioMorricone’s‘The Verdict (DopoLa
Condanna)’referstoaninstantlyrecognisable pianophrase fromBeethoven’sclassic‘FurElise’.Furtheringonfromthis,
it originallyappearedinaWesternfilm –SergioSollima’s1966. It isone of eightMorricone songsinthe soundtrack;
providingsolidquantitative groundupontobuildatheoretical study. Consequently,twofurtherMorricone songswillbe
sampled;the choicesof whichare difficulttodefine.However,the three songsthatappeartwice and‘The Verdict’don’t
place enoughfocusonShoshanna,consideringhercentral role tothe film.Uponfurtherinspection,Morricone supports
herentrance and exittothe film,whichoccurin oppositional circumstancesandmusicallyare almostthe antithesisof
one another.The two textsinquestionare ‘L’incontro Con La Figlia’(The Meeting of the Daughter) and‘Un Amico’(A
Friend).The appropriate academicframeworkswhichall these songsare tobe measuredagainstare detailedineach
section.
JAMESON’S POSTMODERNISMS AND TARANTINO’S MUSIC
The aural textsmustbe interrogatedefficiently,inordertofullyexpose theirpurpose andcapacitytofacilitate that
purpose.Onlyappropriate modesof enquirymustbe deployed;akeyone isthe conceptof postmodernism.Tarantino
has beencelebrated asa postmodernpractitionerbeforeinhiscareer;academically,intextssuchas“The Cambridge
CompaniontoPostmodernism5
”and“PostmodernMusic/PostmodernThought6
”,andsocio-culturally,with Pulp Fiction
5 Connor, S. 3004. The Cambridge Companion to Postmodernism. Cambridge: Cambridge UniversityPress.
6
Auner &Lochhead. 2002. Postmodern Music Postmodern Thought. London/New York: Routledge.

beingclassedassuchwebsitessuchas‘Wikipedia7
’.Reliabilityof the lattersource isquestionable,butsuchanotion
doesexist–of hisfilmsandtheirmusic.Thisisbecause Tarantino’snon-linearnarrativesare confusedfurtherby
contrastingmusical accompaniments,suchasthe ‘ear-chopping’sceneinReservoirDogs,whichisaurallysupportedby
‘Stuckin the Middle withYou’byStealer’sWheel,orin Pulp Fiction where Mia overdosesonherointoUrge Overkill’s
‘Girl,You’ll be a WomanSoon’amongstotherexamples.
Postmodernismisachallengingconcepttograspand apply,sointroductorytextssuchasBarry Smart’s“Postmodernity:
KeyIdeas8
”and Bestand Kellner’s“PostmodernTheory:Critical Interrogations9
”are ideal preliminaryreadings.They
presentthe differencesof modernismtopostmodernismandthe periodwherepostmodernismcame tofruition,and
leadonto shape the thoughtsof relevantwritersonthe subject.Take FredricJameson;Jameson’swritingson
postmodernisminline withpopularculture are integral tothe discourse. “Postmodernism:The Cultural Logicof Late
Capitalism10
”and“PostmodernismandConsumerSociety11
”are dialecticworksfrom livingmemoryandare considered
amongstthe most importantwritingssince the publicationsof The FrankfurtSchool. Inthe latter,Jamesondeclares:
“Radical breaks between periods do not generally involve complete changes of content, but rather the restructuration of a certain number of
elements alreadygiven: features that in an earlier period or system were subordinate now become dominant and features that had been dominant
again become secondary”.
Jameson,withregardtofilm,continuestodeclare thatrealistcontentseldomappears.
“If there is any realism left here, it is a "realism" which springs from the shock of grasping that confinement and of realizi ng that, for whatever
peculiar reasons, we seem condemned to seek the historical past through our own pop images and stereotypes about that past, which itself
remains forever out of reach”.
Theoretically,Jamesonargueshispersonallyconceptualised“nostalgiafilm”,whichAnne Friedburgsummarisesinher
text“WindowShopping:Cinemaandthe Postmodern12
”:
7 http://en.wikipedia.org/wiki/Postmodernist_film
8
Smart, B. 1993. Postmodernity: Key Ideas. London:Routledge.
9
Best & Kellner. 1991. Postmodern Theory: Critical Interrogations. London:MacmillanEducationLtd.
10 Jameson, F. 1991. Postmodernism:The Cultural Logic of Late Capitalism. Durham:Duke UniversityPress.
11 Jameson, F. 1998. The Cultural Turn: Selected Writings on the Postmodern 1983 – 1998. London/NewYork:Verso.
12
Friedburg, A. 1993. Window Shopping: Cinema and the Postmodern. Berkeley/Los Angeles/London:Universityof California Press.

“Although Jameson doesn’t perform an exact taxonomy, his descriptions divide the ‘nostalgia film’ into:
1) Films that are about the past and set in the past (‘Chinatown’, ‘American Graffiti’)
2) Films that ‘reinvent’ the past (‘Star Wars’, ‘Raiders of the Lost Ark’)
3) Films that are set in the present but invoke the past (‘Body Heat’; we could add ‘Miami Vice’, ‘Moonlighting’, ‘Batman’)”
The firstand secondof the three couldbothcategoricallydefine InglouriousBasterds;the secondinparticularmirrors
the film’sremouldingof the endof the warand constructionsof those whoendit.Jameson’spostmodernismsasa
whole have alsobeenclassified - these canbe foundinhiswritingsorinother postmodernisttexts,suchas“Crisis
Cinema:The ApocalypticIdeainPostmodernNarrative Film”:
“(Jameson’s postmodernisms) as the following: [1] Postmodernism is misunderstood. [2] Its tenuous unity is evident only in its opposition to high
modernism. [3] It designates an erosion of distinctions between high and low art. [4] It effaces genre conventions. [5] It is ahistorical. [6] It
models on the multitude of intersections between art and the cultural conditions of late capitalism. [7] In its seeming randomness, it simulates
an undifferentiated (schizophrenic) world vision13”.
It isagainstthese measurementsthatthe textsinquestionwill be analysedinordertodeterminetheirpostmodernist
potency.Reappropriating‘postmodernism’withinthesearticlestostandfor‘aural text’will subsequentlyreveal the
identityof the songsusedinthe film.
THE VERDICT (DOPO LA CONDANNA) – ENNIO MORRICONE
It isplausible topropose thatthere are active mechanismsof postmodernismatthe beginningof the film;Lisa
Coulthardin“QuentinTarantino’s‘InglouriousBasterds’:A Manipulationof Metacinema”qualifies:
“(this) temporal distension and affective intensification are particularly prominent in the opening sequence, which is in many ways the most
‘Western’ chapter in the film … “The Verdict” from ‘The Big Gundown’ slowly rises in the mix to dominate the sequence until the music fades into
the car engine motor as it reaches the farmhouse. Time is expansive; the car seems to approach as slowly as a man on horseback – that iconic
image seen in the distance at the beginning of innumerable Westerns14.”
We are onlya minute intothe filmbeforeCoulthard’sobservationsunfold;apostmodernistlandscapeisshapedforthe
musical’sarrival.‘The Verdict’appearsforsixtysevenseconds,andreferencesthe introductoryphrase of Beethoven’s
‘Fur Elise’.The vignette bookendsthe piece,withtwoidentical examplesinbetween. Unlikethe original,inwhichthe
13Sharrett, Christopher. 1993. Crisis Cinema:The Apocalyptic Idea in Postmodern Narrative Film. WashingtonDC:Maisonneuve Press
14 Dassanowsky, R. V. 2012. Quentin Tarantino’s Inglourious Basterds:A Manipulation of Metacinema. New York/London:Continuum International
Publishing Group.

melodyparallelsthe metronomicrhythm,Morricone’salterationsdenote slightaccelerationanddecelerationof the
motif whichismarginallyextended.The adjustmentstotempocause momentsof bathosthatresolve calmly, butthisis
mostevidentwhenthe visual backdropisremoved –otherwise the musicagitatesthe alreadyperturbedfamily.The
pianocomponentisrecognisabletoall;BarryCooper’sbiographyof Beethoventellsusthat“the melodyand
accompanimentof ‘FurElise’evoke anappropriate moodforintense longing15
”.Originallythe longingwasfeltby
Beethoventowardsafemale,butthe longingisreshapedbythe filmtoaimforpeace. ThisgravitatesCoulthard’snotion
of time expansionand confirmsthatthe song’ssupportisaimedatthe protagonists,the LaPadite farmers.The family
and the musiccrystallise the globallysharedlongingharbouredbyNazi oppressorsforpeace duringthe war.
Theoreticallywe canchallenge Tarantino’suse of the trackas a postmodernismof Jameson’s,onthe basisof itsprimary
functionasfilmmusic(aWesterntrack).Morricone too can be assessedasa postmodernistcollaboratorbyrealigning
an esteemedmusical landmarkintofilmmusic.
There are otherforms of instrumentation.Three of the fourpianorunsare followedbystylisticallySpanishacoustic
guitarmovements;the guitarthensucceededbymilitary-styledpercussionrollsinterwovenwithanequallysovereign
hornedsection.The immediate guitaralso hasirregularmomentsmelodically –itbeginsandveryquicklypauses,before
flourishingitssolopartfor the remainderof the section. The gapsthisprovidesare filledbyevocative camerashots
fromvaryinganglesof the farmer,hisdaughterand the approachingNazis,whichare tailoredtoheightenourremorse
for the protagonists.We neverapproachthe house withthe Nazis;we onlyobservetheirapproachfromthe farm,
whichlocatesourmusical experience inthe foregroundof the LaPadite’semotions.The majorityof close shotsfocuson
the father,conveyingthathe will be the characterto engage withthe Nazi’sregardlessof the reasonfortheirvisit.
The third fragmentof instrumentationemitscombatantconnotations,andreinforcesthe militaristiccontrol overthe
scene.The percussive elementssitsecondarydynamically tothe melismatichornswhichfinisheachfragmentwitha
sustainedresolvingnote.Theycontrastthe fluidityof the precedingguitarandpianomovementsthroughthe prolonged
trumpets,andare stabilisedbyshortrepeatedrollsonasnare drum.This is the onlysectiontobe bracedwith
percussion,andparamusical referencestothe rhythmof these sectionsare made visually;the fathercementshisaxe
intoa tree stumpone beatafterthe snare roll,embodyingthe pugnaciousovertoneof the scene.During anotherof
these phrases,the fatherdemandshisdaughters goinside,andisseenfromalow angle withthe cameralookingup,
15 Cooper, B. 2000. Beethoven. Oxford: Oxford University Press.

alludingtothe nobilitythe sectionemotivelyprovides.The piece endswithanotherpianoexert,where the farmerwalks
towards hishouse calmly,withthe tree stumpandlodgedaxe inthe foreground.Thisvisuallysolidifiesthe harsh
unchangeable eventstocome,andaurallydisplaysthe fatherwhohasnow peacefullysuccumbedtothe likelynegative
outcome of the Nazi’svisit.
Firstly,we canexamine Tarantino’suse of suchmusicandidentifyanyparallelswithJameson’spostmodernisms.We
can alsoindividuallyqueryMorricone’scompositional values.Conclusivelythere are supportiveattributesforboth
enquiries;onTarantino’s part,the stylisticdifferencesof eachsectioninthe musicare mirroredon screenemotionally,
but inbetweenshotsof the Nazi’sapproach(correctlyacclaimedtoalludetoWesternfilmpracticesbyCoulthard).The
typicalityof Westernfilm’sintroductorysequenceshoweverdoesnotmatchthatof the genericworldwartwofilm;the
oppositionalforcesthatwouldmeetinaWesternfilmare dramatizedandsharpfocusisplacedon the forcesrather
than the contact. The accompanyingmusic,however,uniteswiththe visual Westernconnotationsdue toitspre-existing
connectiontothe Westerngenre.
An erosionof distinctionsbetween‘high’and‘low’artcan be foundinthe differentgenre andstylesthatall three
musical segmentscome from,andforsimilarreasoningwe cancollate the trackto achievingahistoricityandeffacing
genre conventions.The lattercanalsobe heldagainstTarantinoandMorricone,the formerforusinga Westerntrack
and the latterfor usingBeethoveninaWesterntrack.We couldsuggestthose differencesentwinedwiththe song’s
original filmicpurpose alsorepresentaschizophrenicvision,andthatTarantinovisuallyconnotesthisbyimitatingthe
stylesof Westernfilms.
SLAUGHTER – BILLY PRESTON
‘Slaughter’assertsitsauthorityimmediatelythroughthe instantthudof the distortedelectricguitarriff and
instantaneouslyshapesourunderstandingof BasterdHugoStiglitz.Whenwe firstmeethim, we receivethe storyof his
joiningthe Basterds.Asitbegins,the cameracatches himsmirkinginthe centre of the shotbefore anunexpectedflash
on the screenof hisname in comical font.It masksthe foregroundandwe are leftwithStiglitz’headabove the
lettering.Inamomentarysilence inbetweenthe riff playingagain,the view changestoa Germannewspaperfrontpage
whichfillsthe screen;alarge picture of Stiglitzsitsonthe leftunderneaththe mastheadandsubhead,andtothe right
tworows of six much smallerheadshots.AsSamuel L.Jacksonnarrates,Stiglitz’infamyamongstNazi’sisbecause asa

Germanenlistedman,he killedthirteenGestapoofficers.The picture thenfillsoutbyfocussingonthe largerpicture of
Stiglitzbefore we seegoreydetailedaccountsof some of hisvictims(typical of Tarantino’sultra-violenttendency).For
thispart, the track movespastthe electricguitarintroductoryriffingintoitscontrastingfunk-drivenverse andchorus.
Thisdescriptionof Stiglitz’lifepre-Basterdsiswithinascene alreadyactingasa memory – as Nazi Private Butzinforms
Hitlerof the Basterd’sambushon hisregiment.‘Slaughter’playsforthirtysevenseconds,duringwhichwe don’tsee
Stiglitzinthe presenttense of the scene,otherthanhisheadabove the font.
The text’spurpose andsurroundingschange whenwe come acrossitagainin ‘OperationKino’.Itstill profilesStiglitz,
but hisdifferent,negative emotionsare nowendorsedbythe music.Initiallyhisaudacioussmile almostcreatedhumour
inconjunctionwiththe music,buthere,visuallywe receive Stiglitzstaringangrily (OperationKinohasbeendisruptedby
the presence of Gestapooffice DieterHellstrom,whichangersStiglitz).There are nodistractionsbetweenStiglitz’
emotive bodylanguage andthe roughtone of the musicthistime,unlike theirpreviousdivide of the large comical font.
The audioand the visualsshare a strongerbondand theybothdenote angerandensure vengeance isthe catalystfor
howthe scene unfolds.The musicbecomesthe mainaural focusasthe dialogue fromthe Gestapoofficerfadesout,and
we then enteranothermemory.Stiglitz,tiedtoapost,topless,and beingwhippedrepetitivelywithvisible steamrising
fromthe freshwounds,inagony.Underneaththe crackof the whipandthe guitar riff,there’sapoundingdouble hitof
a bass drumwhichcouldrepresenthisheartrate inboth the scenesthe musichasservedinthischapter.The whipping
inthe montage isfairlyregular,andthisrhythmicqualityisextendedwhenwe returntothe tavernandthe Gestapo
officerpatsStiglitzonthe torsoto get his attention.
Primarily,‘Slaughter’profilesStiglitz;inbothinstancesthe visual mirrorthe audio(‘Slaughter’andStiglitzinharmony)
and therefore onthe secondoccasionthe audience associate the songasa motif forthe character.Furthermore,he is
the onlyBasterdwe are givenaninsighttothe historyof,whichmostwouldfindstandarddue tohisconflicting
appearancesinthe Germanand Americanarmy.But Stiglitzisnotthe leaderof the Basterds.He isn’ta founding
member;theywenttohim and enquiredforhisservices.Beforethen,Stiglitzviolentlyopposedthe Nazi regimeof his
ownaccord, whilstcompromisingadifficultmilitaryposition.Notonlywashe initiallyaNazi and thena Basterd,he then
pretendstobe a Nazi in chapterfour (OperationKino).He diesinaNazi uniform, actingasa Nazi,withan Austrianwho
neverwasenlistedbythe Germans,andanEnglishman(the firstwe’veseensofar) masqueradingasa Nazi withan
unconvincingaccent.Stiglitz’lastlineinthe filmis“saygoodbye toyourNazi balls”aftera cue fromHiccox,and thenhe

deliversthe firstof manyblowsaimedat DieterHellstrom.InStiglitz’firstmusical cue,he wasthe killerwho
‘slaughtered’everyonehe possiblycould.The seconddemonstratedStiglitz startsthe ‘slaughtering’butdoesnot
survive.
WHAT’D I SAY – RARE EARTH
With‘What’dI Say’,we are showncontrastingemotionsagainbutfromthe same momentintime;the contrastsare
embodiedbythe Basterds andShoshannaandMarcel,and theirdifferentapproachestoundertakingtheirplans.The
firsttime we hearthe exert,we’ve justseenDonny(The BearJew) getuptoleave the auditorium;whenthe music
beginsthe cameraisopposite the double doorstothe cinema. He walksright,pastthe camera, andwe thenliftupand
meethimat the top of the rightstaircase.We watch Donnywalkthroughdoor frame,andour nextangle isfromhis
perspective,peeringaroundawall viewingthe guardsoutside Hitler’sprivatebalcony.We swivel one hundredand
eighty degreesandsee Donny’sface forasplitsecond,before spinningbacktosee Hitlercome outfrom hisbalcony.
We returnto Donny’sface,whichpresentsdisbelief andexcitement.He disappears;musicstops.
Secondslater, Donny retrieves Omarfromthe auditorium(whocomicallyfallsoveranddrawsmuch Nazi attention,
whilstfeigninganItalianaccent).The musicstartsagain at the openingof the doors.We are setmuchfurtherback and
followthemfromalowangle as theyquicklyascendthe staircase. Ourassociationsof DonnyandOmarwiththistrack
are thenconfused,asournextshotis of Shoshannafromthe projectionroom, lookingoutintothe cinema.Marcel
arrivesbehindher,tellsherthattime isupon them;she turns,and instantlygetsemotional.Theyembrace,andkiss,for
several secondswhilstShoshanna’snervesincrease.Marcel then leaves,andShoshannais cryingandgasping.Donny
and Shoshanna’sactionscontrast;Donnyiseager forthe actionto beginandhurriestoget Omar; Shoshannalatches
ontoMarcel and theirmomentof passionisextended.Afterthiswe see Marcel comingoutontothe top of the lobby,
comingdownthe opposite staircase thatDonnyandOmar wentup.Holdingtwopoles,we see himopenone of the
doorsto the cinema,where (onscreen)Zolleriscarvinga swastikaintothe floor,whichismetbycheering;the music
stops.
The music inthese twoscenesisidentical.The sectioninquestionisthe song’sending –it couldbe heard underneath
otherinstrumentationatearlierpartsof the track but here itis isolated.The strophicsectionsmirrorthe passagesin
‘Slaughter’;bothtracksappeartwice withthe same andadditional charactersandtime isvisuallydistorted. Further

contrastscan be foundvisually;The Basterdsmasquerade cinemaindustryworkers,whereasatthe startof chapterfive
we see Shoshannaapplyingmake upwithtribal undertonesthroughout.Atsome points,the combatantbecomethe
hostsand vice versa,all to the same timelessrhythmicloopfroma Rare Earth’scover,not Ray Charles’original.Broadly
speaking,ShoshannaalsohasparallelstoStiglitz –we receive ahistoryof bothand the catalystsfortheirnow
destructive behaviour;theybothattimesappease Nazi superiority,andtheybothdie atthe handsof those they’re up
against.Shoshanna’sdeathoccursinstrangercircumstances,asher final kissiswithMarcel (whomthe narrative deems
as her partner) practicallyonthe same spotas her restingplace,nexttoNazi filmstarFredrikZoller.Shoshannashoots
Zoller, the starof A Nation’sPridedue to hismarksmanship;before Stiglitzkills DieterHellstrom,he saysfromclose
range,he’sthe real ‘FredrikZoller’,eventhoughthe real FredrikZollerisshotinhis deathscene fromclose range.
Furthermore,whenwe follow DonnyandOmaringreatdetail upthe stairs,we must remembertheyare onlythere due
to the deathof Stiglitz,Hiccox and WilhelmWicki;Stiglitzwasmeanttobe there. Thisisimportantbecause sofar we’ve
seentime visuallydistortedbyStiglitz’themesong‘Slaughter’andby‘What’dI Say’,yetif OperationKinohadn’tfailed
inthe tavern,itwouldbe Stiglitzwhopreparedtokill the Nazi’salongto‘What’dI Say’.
Linkingall these unearthedvisual relationshipsisthe style of the musicthatsupportsthem.Bothhave sectionslooped
on bothoccasions,andin all fourinstancesthisalludestothe distortionof time visually.
Consideringthe time lapseof the twosongs,itcouldbe arguedthat the tracks efface genericconventionsof filmmusic
practise:Inan essaystudyingmotificmusicanditsvisual counterpart,ClaudiaGorbmanobservesthe Gyorgi Ligetipiano
musicinStanleyKubrick’s‘EyesWide Shut’:
“ … A suspense cue with its insistence on the semitone and on the spectral creepiness of octaves played deep in the bass … in all five scenes scored
with the Ligeti, Bill’s complacency is strongly shaken, and in one way or another he is unmasked or gripped with shame16.”
There are novariablesinGorbman’sdiscussion,whichtherefore reinforcesBill’sretributionsiseasilydone byusingthe
same musiccontinually.Inourstudieshoweverwe have foundthatdissectingthe song’sstructure encouragesdifferent
musical pointstoreferto differentthings.However, theycan’tactmotificallyif asegmentonlyappearsonce,andif
visual increasesordecreasesintime are presentthenthe musicisn’ttruly representingwhatwe see everytime.Forthe
same reasonwe can qualifyamisunderstandingof the narrative,andahistoricityisachievedbyusingsongsfromafter
the war to supportthe fictional oppressorsof Nazism inawidelyfictionalscenario.A schizophrenicvisionisofferedto
16 Donnelly, K. J. 2001. Film Music:Critical Approaches. New York/London:Continuum International Publishing Group

us bythe opposite viewpointswe receivefromdifferentcharactersall aimingtokill the ThirdReichthroughthe same
track (‘What’dI Say’).Oppositiontohighmodernismcouldbe demonstratedbythe prolongedpassionShoshannaand
Marcel share,despite the gravityandhuge implicationstheirpreferredoutcomewouldhave (inthe worldof the film).
The longevityof the embrace wouldn’tbe emphasizedwere itnotforthe musicand itscontrastingnotionof time
elsewhere inthe film.
LARSEN’S DICHOTOMY: CHARLES BERNSTEIN’S ‘WHITE LIGHTNING’
‘Slaughter’and‘What’dISay’ accountfor two of three songsthat feature twice inthe film.The thirdisCharles
Bernstein’s‘WhiteLightning’,originallythe openingtheme forJosephSargent’s1973 film White Lightning (also
appearinginTarantino’s Kill Bill Vol.I).In InglouriousBasterds,the trackbookendsaretrospective scene thatstems
fromNazi Private Butz’recallingtoHitlerof the Basterdsambushonhis regiment.The scene isthe thirdof three in
chaptertwo (‘InglouriousBasterds’),having firstmetAldoRaine andhismenthroughtheirunconventional military
briefing,andthenseenHitler’sangeratthe Basterds’growingreputationamongsthissoldiers.ErnoRapée dictatesthat
“as longas you varyyour instrumentationoryourtonalityit will notgettiresome17
”.Rapée’saccountsare hugelydated
(1924) but we can still contesthisnotionsthroughthe musical passagesin‘WhiteLightning’.The trackconstitutes
several differentinstrumentsfromdifferentculturesthatplayinunisonandoccasionallywarrantasolopart, in
conjunctiontothe otherinstruments.The vastarrayof instrumentscontestsRapée’sconceptaswe have awider
selectionof passagestochoose from.Bernsteintestifiesthatforthe compositionof the songhe hiredsome of the best
countrymusiciansinAmericaatthe time (the original film‘White Lightning’issetisArkansas,southernAmerica)18
.The
track’s bookendingof ourfirstinsighttothe Basterd’smethodsplacesitatthe start andbeginningof asmallernarrati ve
structure;the scene’sdepictionof the Basterdsatwork ismemorable foritsultra-violenttone andpassive-aggressive
dialogue.Thisensures the audience will rememberthe scene as itsownentity,aswell aswithin inthe greaternarrative
strand.The interrogativeelementsof the Basterd’smissionsare vital toprofilingtheirstatusandsuperiorityoverNazis
inthe film;the wide arrayof instrumentationsin‘White Lightning’mirrorsthe multiplicityof scenesitservesfor.
17 Rapée, Erno. 1974 (originally1924). Motion Picture Moods for Pianists and Organists. New York:Arno Press.
18 http://www.filmscoremonthly.com/board/posts.cfm?threadID=68442&forumID=1&archive=0

PeterLarsen’s‘FilmMusic’(2005) isa recenttextthatassessesthe problemsof musicfilmanalysis,beforeproposinga
model andapplyingitamongstotherwritings.Hisdiscursive chapter‘AnalysingFilmMusic’determinesadichotomyof
analysisisrequired:
“It will concentrate on the mutual relations between the individual elements and on the function of the elements in the totality”.
ConceptuallyforLarsen,“actual,thoroughanalysesof the functionsof filmmusicinparticularfilmsisrare”,and“film
musicisfunctional music– musicwhose structure hasbeendeterminedbyfactorsthatlie outside the musicitself19
”.
Larsennominatesthatbasicissuesof musicandcinemacan be tackledsimilarlyastheyfocusonsimilarcomponents –
segmentation,motifictendency,expectationsof the audience,narrativethreadingetc.Larsenequatesthatasmusic
analysisandfilmanalysis,intheirmostprimitive forms,share terminology,methodandlimitations,itisessential to
understandhowa track runsfundamentallywithoutanarrative,visual backdrop,before reinstatingthatbackdropand
measuringthe findingsagainstthe scenery.Forthisensuinganalysis,thismethodwillbe exercised.The musicwill be
interrogatedasmusic,the track’swide soundscape providingthe basisforselectingthisparticulartrack.Subsequentlyit
will be studiedwiththe preliminaryfindingsagainstthe visual backdropitadheresto –the differentmomentsof
sceneryaffordingourchoice forpickingthe musicfromthe scene.
‘White Lightning’issegmented;initiallythe instrumentsbuilduponone another,before all stoppingandallowingsolo
movementsinthe silence fordifferentthreadsof the musical fabric.The firstsoundwe hearisa bass guitarpluckingat
a moderate tempo,fromG (3) downa fifthtoC, thena secondto B♭,before the minorthirddescenttothe lowerG
octave.The latterG note resonatesbefore routinelyperformingthe riff again,andafteronce aroundthe riff the quick
tappingof a hi –hat. The rhythm sectionisthenlayered withirregularlyplacedbongo/tom-likedrums,andthenthe
melodicbassislayeredwithaslide guitar,scalingthe Gminorpentatonicscale.Again,the rhythmrespondswith
additional hi-hathitsthatstandalone alongeachbar,withgrowingemphasisonthe tomsunderneathit –one
resonatingsimilarlytoasnare.Unexpectedlythe followingadditionisanechoedbreathe-likegasp,andthenthe slide
guitarrollsaroundthe pentatonicscale again.Thisisthirtyfive secondsin,andthe echoemittedfromthe vocal and
resoundingtomsemphasisesthe vastspace the songis in.A breakdowntriggeredbyasolitarypianochordrevealsa
sustained,highregisteringwoodwindblowthatisparticularlyintimidatingonce itcollideswithalow minorpianochord.
19 Larsen, P. 2005. Film Music. London:ReaktionBooks Ltd

Then, a panoramicsnare-like roll,shakingof maracas,and furtherslide guitarall individuallyperform.Subsequentlya
similarbuildupentails,thistime withthe additionfromthe startof the new sectionof the ironicallynamedjewharp,
whichgoeson to configure asolopositioninthe succeedingbreakdown.
The advantage of employingthissonganditsassociatedscenesasobjectsof Larsen’smethodologyisthatthe scope of
instrumentsfullyoptimizesthe individual andcombinedcomponents’relationships; toequallysingularorcollective
aspectsof the scene’sindividual narrative withinthe film’stotality.Forthe firstscene,the musicbeginsvisuallybehind
the lateraffirmedPrivate Butz,whoisbeingescortedupastaircase bytwo Nazi staff.We hear himbefore we see his
face,as the ensuingconversationwithHitlerbeginsbefore we jointhemvisually;the slide guitarisaudible but
underneaththe dominantdialogue.He detailsthe survivorsof the ambushbefore the recollectioncomesalive,ashe
describes‘removingthe hair’;anunknownBasterd’sknife isskimmingthroughadeadNazi’sscalpinunnervingfashion.
As the drumrollsbeginsthe viewgoestothe three survivedNazisare marshalleddownpastthe leftof ourscreen.
The seconddeploymentof ‘White Lightning’alsobeginsinButzandHitler’sdialogue,before again carrying us back into
Butz’s memory. Butz, translator Wicki and Aldo are stood left to right, with a map between Butz and Aldo. Aldo’s
questions,the translationandthe answers are followedbythe camera. The jovial questioning of what Butz plans to do
when he gets home, and what he intends to do with his uniform, profile the fear Butz has and the Basterd’s darkly
humorous tone as its antithesis. The slide guitar plays when Aldo asks his questions, linking the two regionally and
authoritatively,due tothe guitar’sprominence inthe song and Aldo’s Basterd rank. Bathos is created by filling the gap
betweenWicki’stranslationsandAldo’ssarcasticcommentswiththe panoramicsnare roll onboth occasions. However,
the conversation intensifies and Aldo stands up as the bass re-joins (solidifying his balance on the scene) and steps
toward Butz, which pushes him out of shot. The aural response is to introduce the jew harp into proceedings, which
fundamentallycontradictsthe growingtensioninitsplayfullylax stretches.However,the unconventional sound stands
out, as it balances on a typically rockabilly/rock ‘n’ roll rhythmic foundation. The sound mirrors the pacey and broad
accent of Aldo,whose intentionsandauthorityare transpiringnow he’sstoodup.ItalsoparallelsAldo’sunconventional
military approach, particularly his request for “one hundred Nazi scalps” and the scarring of any survivors. Claudia
Gorbman, in ‘Unheard Melodies’, highlights that film music “bonds spectator to spectacle, it envelops spectator and

spectacle ina harmonious place20
”; ‘White Lightning’ begins to aid the divide between Nazi and Basterd, and enables
the audience toallude toBasterd ideology, despite seeing this through the eyes of a Nazi. Aldo informs us he doesn’t
like Naziswhotake off their uniform, as their Nazi identity is concealed. Wicki begins to relay to Butz, and flute eerily
glides above the dialogue, representing Butz’s growing fears. The solution is to give him something he can’t remove,
indicatedasscarringthroughAldo’sviciousraisingof hisknife.Asthisisstated, the guitar plays, and its genre and style
cementsRaine’spowerinthe scene.ThisisachievedthroughreferencinghisrootsinsouthernAmerica, and paralleling
the Lieutenant’s dominance byappearingcentral tothe totalityof itsownbackdrop.The track’sindividual soloing parts
have thus far served for different emotions of oppositional characters but predominantly outlined the Basterd’s
supremacy in the Nazi memory. We return to view Hitler, whose shock is evident, before we then turn to Butz’
forehead, where a swastika scar sits. Our return to the memory is set through Butz’ view, which has Donny and Aldo
above him, with Aldo’s knife with a minute drop of blood on the blade. Donny compliments the scarring, and Aldo
responds: “You know how to get to Carnegie Hall, don’t ya? … Practice.”
The jewharp thenresoundsinthe visual successionintodarkness,beginning ata higherregisteranddroppingtoa
lowerone swiftly;itembodieslaughterorchortlingatRaine’sthrowawayresponse,before the scene andchaptercome
to a close.The musicbarelychangesforthe transition,asthe jew harpringsaroundthe emptyvisual space withthe
guitarand bass underneathit.Afterwe’reinformedof the nextchapterandthe year,the instrumentationstopsasthe
flute returns;thisplaysasa camera pansverticallydownacinema,pasta circular window whichagirl walkspast,and
eventuallyshe meetsusatthe bottomentrance of the cinema.She comesoutside,andthe bassand guitarhave just
come back intothe mix.She beginschangingthe lettersaroundthe bannerfrontingabove the cinemadoors,beforethe
musicends,and“ShoshannaDreyfus:FourYearsAfterthe Massacre of herFamily”flashesuponthe screen.
The ambiguityof thischaracter’sidentityiscodedatthroughthe visual andaudiopatternsonce again;we see herfora
splitsecond,walkingahead,pastthe circularwindow.Fromthe topon the cinemaview andpastthiswindow,the
constantwoodwindnote resonates,onlytobe replacedwiththe less tense guitarlineswhenshe comesoutside.
Althoughwe don’tknowatthispointwhoshe is,we can predict heridentityandnarrative through the music;the
similarityinscore betweenAldoandthe Basterdsinstilsasubconscioustrustwiththe female character.Furthermore,in
20
Gorbman, C. 1987. Unheard Melodies:Narrative Film Music. Bloomington:Universityof Indiana Press.

betweenthe twoplaying’sof ‘White Lightning’,Raine commentstothe soon-to-be-deadNazi SergeantRachtmannthat
watchingDonny(The BearJew) clubbingGermanstodeathis“the closestanyof (them) gettogoin’to the movies”;the
scene endswithDonnyandAldocentral to the shotfrom Butz,before we arrive ata cinema.
Isolationof the musical textandsubsequentexaminationdictatesthatthe track ismade up of both contrastingand
similarinstruments,withsimilardiscontinuityfoundwithinthe timbreof those instruments –phrasing,length,tone,
and presence withinthe totalityof the track.These individualelementsandtheirrole inthe track’stotalitycompliment
the singularityof the Basterds inthisscene.Asa whole,‘White Lightning’isaBasterdstrack, but the separate musical
featuresequate tothe Basterd’sseparate charactersandtheirNazi counterpartsinthe scene.Aldoinparticularis
activelybeingprofiledbysingle instrumentativeexamples,whereasotherkeymemberssuchasDonnyeithertie into
that ideologyorhave theirown(whenhe emergesfromthe cave to‘The Surrender’byEnnioMorricone,andBilly
Preston’s‘Slaughter’actingtorepresentHugoStiglitzmusically).If we heardthese instrumentsontheirown,they
wouldconnote paramusical ideasandemotions.Forexample, fear,throughthe highestregistering,highlysustained
flute;regionally,the slide guitaranditsmovementscrystalliseAldo’sownrootsandideologies;bathosfromthe jew
harp thencommendsbothAldo’sunconventional militaryapproachandhissarcastic,anticlimactictone andsense of
humour.
ENNIO MORRICONE AND SHOSHANNA DREYFUS
The majorityof textsconsideredthusfarsurroundthose whooppose Nazismin‘InglouriousBasterds’;onlyonce,in
Morricone’s‘DopoLa Condanna’have we dissectedmusicthatprofiledthe threatandauthorityharbouredbythe Nazis.
Otherwise thisstudyhasfocusedelsewhere,mostlyonthe Basterdsthemselves.Cinematically,anglingthe study
towards the film’sJewishheroine ShoshannaDreyfushasn’toccurred abundantly.She epitomisesthe face of Jewish
vengeance inthe final chapter‘Revenge of the GiantFace’,aftera lengthyprocessof editingthe reel to A Nation’sPride
so that she answersZoller’squestion“Whowantstosenda message toGermany?”with“I want to senda message to
Germany… thatyou are all goingto die.”Subsequentlythe cinemaburnsdownandthe Basterdsattendingthe
premiere shooteveryonefromHitler’sbalcony(aftershootinghim, Goebbelsandthe translatorFrancesca).Thisdisplay
of determinationisthe antithesisof howwe initiallyperceiveShoshanna –weak,coveredinherfamily’sblood,

aimlesslyrunningawayfromthe LaPadite farm.Herdevelopmentthroughoutthe film more thanjustifiesstudyingher
musical underpinnings.
The final proposal of enquirywill seektounderstandMorricone’srole inshapingthe audience’sreadingof Shoshanna;
withparticularemphasisuponherarrival intothe filmandherdeparture,both underscoredbyMorricone.
L’INCONTRO CON LA FIGLIA (THE MEETING OF THE DAUGHTER)
Jeff Smith,in‘The Soundsof Commerce:MarketingPopularFilmMusic’locatesthat‘Morricone’spragmatismand
eclecticism allowed him to function within a numberof commercialmusic contexts21
’;hisabilitytocreate polysemicfilm
music’sonmany occasionsunderlinesthisclaim.The twotextstobe analysedfurtherthis astheyare the antithesisof
one another.Ourfirst,‘L’incontroConLa Figlia’(‘The Meetingof the Daughter’)’sascensionindynamicsalludestothe
creationof fearand terror; the scramblingviolinsthatbeginnearthe startof the track are reminiscentof ‘Flightof the
Bumblebee’,withoutanyobviousmotifsoperating.Sustainingoverthe topof the stringsectionisa Frenchhorn,
internallypedallingthe note.Itdoesn’tsoundsolo;aviolasoundstobe playinginunisonandaddinggravitastothe
sound.The tensionisdirectlyincreasedbythe faintcrashesof cymbalsheardinthe backgroundfromfortysix seconds
in– theydon’tforefrontthe mix oract rhythmicallytoatiming.Fromhere,the sustainedroll onasnare (withall its
militaryconnotations) canbe heardunderneaththe stringsandhorns,before we getto01:05 where the hornsand
snare stop,before re-joiningthreesecondslatertoperformthe track’scrashingmovement.The hornbeginsatone
lower,andissupportedbythe higherE octave note inlowerregisteredstringsandhorns.Itsplayingresonatesaround
the track and contradictsthe shimmeringandstill scramblingviolinsunderneathit,thatare settledata higherregister
withrepeatedtonal dropsata fasttempo.We are now intothe secondhalf of the track, whichisledbythe stomping
riffsof lowerbrassinstrumentssuchasthe bass tuba.The forefrontof the track issharedbetweentheselowbrass
instrumentsandafalsettochoirthat act out a descenteachtime they’re heard.The lowerbrassisreplacedbytrumpets
that alsorecur arounda riff before (like the lowerbrassbefore it) pedallingthe finalnote.
This track not onlyintroducesShoshanna,butalsothe twistedinterrogative methodsof Landaandthe obedience
inflictedthroughoutNazi ranks.Italsoprofilesthe angstandpainof LaPadite,whose Englishconversation withLanda
21
Smith, J. 1998. The Sounds of Commerce:Marketing Popular Film Music. New York/Chichester, West Sussex:Columbia UniversityPress.

meansthe deceasedhadnoideaof theirimpendingdeath.RobertCumbow,inhistext“Once Upona Time:The Filmsof
SergioLeone”talksof Morricone’sdominationoverthe visual scape:“Nevermerelyaccompanyingorcommentingon
the shotsor on the action,the musicassumesequal proportiontowhatistakingplace onthe screen22
”.The only
dialogue duringthe musicisthe theatricsonLanda,and a few nervousshakesof LaPadite’shead.Thesetwofactors
workperfectlyinconjunctiontoone another:Sparingthe scene of dialogueotherthanonLanda’spart highlightsthe
powerof the music, the sensual emotive connotationsitmakes,andLanda’sdisturbingattitudetohiswork.He instructs
LaPadite toswitchback to Frenchonce he has coaxedthe informationof the hiddenJewsfromthe farmer.Eventhough
the Dreyfus’scan’tsee Landa,he openshisarms and animates athank youfor the farmer’shospitality.The imagerythis
createswiththisaural backdrop locatesLandaperfectly,asthe out-of-the-ordinarySSColonelTarantinowrote himto
be23
.
Shoshannaiscapturedrunningawayfromthe house both frombehindandinfrontof her; the house loominginthe
distantbackgroundcrystallisingherdeparture,andthe rural surroundingshighlightingherlackof directionorplan.All
the while,close upsonherface and of her overtemotional placementappearwhilstthe trackconflictsemotionally
betweenscramblingstringsandsustained,boomingbrass.The varietyof timbre inthe track’sinstrumentationclearly
demonstratesbothLanda’scapability athisjoband Shoshanna’sshockandangst, consequently alsoalludingtoNazi
power.The visualsdepictLandaallowinghertolive however,whichinsinuatesherrole inthe filmisnotyetover.
Shoshannawill be back,we justdon’tknowhow,when,where,orwhoshe maybe with.Undeniably,retribution
becomesaninstanttheme underpinningherasshe’ssurvived.
UN AMICO (A FRIEND)
In chapterfive (‘The Revengeof the GiantFace’),Nazi Nightisinfull swingand the filmpremiere of Goebbel’s A
Nation’sPrideappearsto be goingwell fromboth a Nazi perspective andfromaBasterds/Shoshannaperspective.
However,the untimelydescent‘Nation’sPride’takesintoultra-violentactsonZoller’spartmake the Nazi feel
uncomfortable;he stridestowardsShoshanna’sprojectionroom, accompaniedbythe fearful colourof “TigerTank”by
Lalo Schifrin.AfterignoringShoshanna’sclaimsthathe can’tbe inthat room and that he shouldbe watchingthe
22
Cumbow, R. C. Once Upon a Time:The Films of Sergio Leone. Metuchen, N.J./London:The Scarecrow Press, Inc.
23 In an interview with Ella Taylor,Tarantino claims thatLanda comes from “a longlineof suave, charmingNazis that have appeared
in Postwar cinema”. http://www.villagevoice.com/2009-08-18/news/quentin-tarantino-the-inglourious-basterds-interview/ Date
accessed – April 2013.

premiere,she theninsultshimbyaskinghimif hisnewly foundNazi statushasleadhimtoforgetwhat‘no’means.He
burststhroughthe doorand confrontsher,as she takesthe opportunity.She tellshimtoclose the dooras they‘don’t
have much time’,before shootinghimthree timesinthe backashe locksthe door.‘Un Amico’(‘A Friend’)beginstoplay
as she turns fromherviewintothe cinematowardshisbodyon the floor.
Beginningwiththe slow,floatingacousticguitarpicking, aroundthe Cmajorchord for three bars at the start of the
fourthbar, violinsbegintoplaya melodysimilartothe guitarsbut witha muchfullersound,anda more lyrical flow
withinitsmelody.The twoplayinconjunctionforthe nextelevenbars,the guitar’smotificrepetition complimenting
the stringsdevelopingmelody.The endof the eleventhbarismetwitha subtle drumfill aroundthe snare and toms
before advancingtoa 4/4 rhythm.Thisisalsowhere the bassguitar joins,whichfollowsthe rootnotesof the chords
and itspluckingrecallsDu-Wopconventionality,asthe firstnote ringsoutbefore the nexttwoare playedquicklyone
afteranother.The tranquillityof the stringsandguitarhasbeendistractedbutonlybythe euphoricevolutionthe
stringshave undertaken:Theynowcanbe foundrepeatingasimilarmotif tobefore butanoctave higherandwithan
eventhickersound(multiplicityinthe violinsseemstobe the cause,alongwithemphasisonsome of the phrasesfrom
flutes).The lyrical styleof the violinsstillremains,asitisstill the focal pointof the track. The nextsectionbridge sto
anotheridentical sectionbutgoesthroughthe chordsina stabbingwaltzmotiononthe midregisterof the violinsfor
three bars independently.These are metbya similarlysteadydrumfill before the violin’smelodyisplayedbya
keyboard/synthesizer.Despite followingthe melody,thissectionisn’tasecstaticasbefore asit’sof a softertone and
registeredlower,inthe midrange.The track doescontinue andfollowsthese sectionsthroughout,butourfilm
experience of itendshere abruptly.
By killingZollerbefore the musicstarts,the musicdisorientatesourscope of Shoshanna’semotionsasmuchas she
does;she triesto lookawayfromZoller,butTarantinosurroundsher.The scene in‘Nation’sPride’we are catching
snippetsof displaysZollerstrugglingtofightof the enemyandlookingdefeated,hisface central tothe camera.
Shoshannaflicksbetweenbothhisbodyandhispresence inthe film,until Zollergroansandshe cannot helpherself but
assisthim.Here,Shoshanna’scompassionkillsEmannuelle Mimieux.She walksovertohim(whichwe see froma
Birdseye view,whichlocatesthe twoontheirownina small room),andshe turnshim over;as she doesso,the first
drum fill playsandZollerstretcheshisarmoutand shootsherin the torso.Perfectlytimed,Shoshannafallsbackinslow
motionsurroundedbyanexplosionof small redparticles, justasthe violinsrepeattheirmelodybutatthe higher

registerandwiththe rhythmicstabilisingof the drumsandthe bass.We see herscreechin slow motion,andbounce off
the wall (where throughthe glasswe see Zolleronscreen,behindher,cockinghisrifle).The camerathenlandsdirectly
infront of her face,portrayingher pain.However,tothismusicandwithoutdialogue,Shoshannalooksorgasmic,which
underpinsthe romantictonalityof the piece.Shoshannafallstothe floor;she islyingvertically,atthe bottomof Zoller’s
feet,whoislyinghorizontally.The cameraswitchestoZoller,andprimarilyfocusesonhimbefore hispistol;whenhe
firesthe pistol,we returntonormal speedandhere Shoshannascreamashe’sjustpulledthe trigge r.Bloodissplattered
everywhere,andthe twoare viewedagainfromthe Birdseye view.The constantreferral tothe small space theyare
bothin and the fact that there are onlytwocharacters presentplacestheirweddednarrative furtherthanplatonic
realms.DuringShoshanna’sritualisticpreparationsforthe night the deepredof hercostume codesenticedthe anger
and vengeance evidentonscreen;now,paralleltoZoller’sovertlywhite militaryjacketembeddedwithbadges,the red
and the white complimentthe romanticovertonesthat‘UnAmico’implies.WhilstShoshannakilledFrederick,onecould
argue Emmanuelle fell inlove withhim.The factthat the twofindthemselvessidebyside inthe filmreelsShoshanna
has editedmeansZoller’scharacterisimmortalisedwithShoshanna,whereasShoshanna’scharacterdieswithZoller.
The visual effectof slowmotiontoa relativelyslow tempotrackaddsto thisidea – theirduality,whetherromantic,
platonicor contrasting,ismade timeless,bothonthe screen of ‘Nation’sPride’and‘InglouriousBasterds’bytheirvery
owndualitieswiththemselves.
CONCLUSION AND EVALUATION
The analytical modelscementedtothisdissertationencourage the writingtowrite descriptivelyforcertainaspectson
investigations.Jameson’spostmodernismsare culturallyinclined,consequentlyanymeasurementmade againstthem
will require adetailed explanationof the filmmusic’srole inthe greaternarrative.Larsen’sdichotomydictatesthatas
there are some similaritiesinvernacularbetweenprimitive musicandfilmanalysis,insinuatingtwoformsof analyses
needtobe undertaken.The thirdsegment,concerningMorricone andShoshanna,basesonnoparticularacademic
frameworkbutthe Larsen’swritingshave taughtusthroughouta steadymethodof analyseswhichcoincidentallysuits
the two antithetical Morricone tracksusedtoscore Shoshanna’sentrance anddeparture.
ConsiderPhilipTagg’s‘Functionsof FilmMusic24
’:Tagg’staxonomyreappropriates PolishmusicologistZofiaLissa’s1959
24 http://www.tagg.org/udem/musimgmot/filmfunx.html Date accessed:October 2012.

study Ästhetikder Filmmusik for contemporaryuse.Inconjunctionwiththisscript,‘The Verdict(DopoLaCondanna)’
equatesto‘Expressionsof Actor’sEmotions’(6) withconstantclose visual surveillance of LaPadite workingintandem
withBarry Cooper’sdiscussionof the emotional longingtransposedfrom‘FurElise’.Technicallyitalsomatcheswiththe
‘Opening’ssubheadingfrom‘EnhancementandDemarcationof the Film’sFormal Structure’(10),asit’sthe firsttrackin
the film.BillyPreston’s‘Slaughter’alsomirrorsasubheadingfrom(10),thatof ‘Leitmotif’asitservesto‘re-identifywith
characters’amongstother filmicelements.Thisalsoleadsusbackto(6) whenwe regardthe differingemotive
connotationsStiglitzemitsonbothoccasions.‘What’dISay’meetsthe descriptionof ‘Symbol’(8),aswe learnof the
Nazi oppressor’scommencingtoendthe nightprematurelybefore the Nazisdo.Italso,againequatesto(6) withfurther
examplesof contrastingemotions,fromthe excitedBasterdsanddistressedShoshanna.‘White Lightning’parallelsthe
thirdsubheadingfrom(10),‘LinksandBridges’asit ‘bridges’the gapbetweenchapterstwoandthree andsecuresour
trust withthe unidentifiedfemale(Shoshanna).Bernstein’strackrelays‘Emphasisof Movement’(1) asAldo’sl iteral
stance is concretedwithtimelyadditionsof dampbassguitar.At thispointthe dialogue andmusicintensifiesgreatly
but the visualsdonotsuggestthisas prominentlyasthe musicdoes,ensuringwe canmirror‘White Lightning’to
‘Anticipationof SubsequentAction’(9).The varyinginstrumentationsalsoleadusbackto‘Expressionsof Actor’s
Emotions’(6).‘L’IncontroConLa Figlia’endorses(9) completely,asthe raise indynamicsunveilsthe scramblingand
sustainingminortonesof the track’s instruments;the visualsare nearenoughidentical tohow they’ve beenforthe
majorityof chapterone.Certainly(6) againforLaPadite andsubsequentlyafleeingShoshanna,butalsothe track suits
the twistedmethodsof Landa,whoisthe scene’svictor (providingthe earlierWesterncontextsetby‘The Verdict(Dopo
La Condanna)’).‘UnAmico’leadsustostudy‘Comment’(5),asitdictatesa typical case of such is through“contradicting
the connotative sphere of the visual action”.ShoshannaandFredrick’skillingof one anotherrepresentsthe untimely
endfor twointegral charactersinthe film:Accompaniedby‘UnAmico’recontextualisesourinterpretationhoweverand
crystallisesthe tworomantically.Italsomirrors‘ExpressionsforAudience’sEmotions’(7) henceforth.
Mostly,the dissertationismotivatedbythe necessityof scrutinisingthe musicandassociatedscenery.Detailed
descriptive language allowsforconcise findingsanalytically,butonlyif the analytical structure inplacesallowsforsuch.
The disadvantage of buildingonquantifiedsongchoiceswitharegimentedtaxonomysuchasTagg’sis that there could
arguablybe little roomtoidentifythe music’spolysemictendency;if anyat all.Employingaview of postmodern
discourse uponthe topicdemonstratesaside tothe songsthat isunobtainable withoutaconcise knowledge of the area

and itssurroundings;the footnotesaccompanyingthe dissertationthroughoutdon’tequate tothe amountof
preliminaryreadingundertooktolearnof the discourse.Jameson’spostmodernismscouldbe appliedtofilmanalysisor
musicanalysisindependently;infact,to almostanyartefactsof popularculture.Applyingthemtofilmmusicpermits
the conductor to deconstructthe audio-visual bondandtoexamine the strandsbetweenthemwithacultural eye,a
widerscope.Were itnotfor the tightconstraintsof the essay,one couldemploythe parametersof Baudrillardor
Lyotard forexample,andwould locate differentfindings.Usingamodel suchasTagg’s infinitelyinalargersectionof the
dissertationcompressesthe findingstobe purelymusical andcinematic,withnoneedforwiderscope.Alongside the
more narrow scope of Larsen maytherefore seemcontradictory,butonlyif thispaperhasa view toinvestigate
InglouriousBasterds music’sasacultural artefactthroughout;butit doesn’t,andone mustn’tforgetthis.If we are to
fullyutilise the limitationsof the study,it’svital torememberthatprimarily,we are investigatingmusicandits
relationship tothe film.These elementsmustbe tackledappropriately –Larsen’sdichotomyprovingasuccessful model.
WhereasJameson’sworkcouldbe subjective forsome academics,Larsenappreciatesthe needtounderstandmusic
and filmseparatelybeforeconsequentlycollaboratingthe twospheres.Larsen’smethod,if successful,will ensure the
conductorhas a sophisticatedyetconcise approachtothe twobasic entitiesunderobservation;determiningthese
faculties certifiesforthe inclusionof amuchmore analytical,culturallymindedapproachsuchasJameson’s
postmodernisms.
The concept of dualitiesisexploredthroughdifferentexamplesthroughoutthe dissertation.The basisforchoosing
these textsstemsfromDeacon’searliersuggestionsof regardingquantitative researchasa cultural researchmethod.
Underpinningthe twoframesof academiawithnumericallybasedsongchoicesensuresnopersonal affiliationswithany
of the soundtrackare made on the conductor’sbehalf;the catalystforthe selectionsmustbe balanced,forthe ensuing
analysesmaybe subjective todifferentsubscribersof analytical frameworks.Instantlythroughthesedualismsdenote
motificactivity,justthroughthe word’smeaning,asArnold Whittall dictates:
“…to represent or symbolize a person, object, place, idea, state of mind, supernatural force or any other ingredient25”.
25 Grove, George, Sir, 1820-1900; Sadie, Stanley, 1930-;Tyrrell, John. 2001. The NewGrove Dictionaryof Music and Musicians. London: Macmillan

Each of the songsthat appeartwice all meetWhittall’sdefinitions;measuringthemagainstadiscursive facultysuchas
postmodernismdetailsfindingsinaccessible throughpure musical orfilmanalysis.Butinordertoreceive these findings,
one mustclearlyunderstandthe fundamentalsof musicinrelationtothe filmandinitsisolation.
There are othersongsthat wouldhave providedinterestingresults –DavidBowie’s‘CatPeople’isarguablythe most
‘popular’trackon the soundtrack,and isthe longestmusical textfoundinthe foregroundof itsappropriate scene.It’s
depictionof Shoshanna’sritualisticroutineof preparingforNazi Nightisfragmentedbyadetailedaccountof herand
Marcel’sstrive forsuccess,regardlessof the cost.The track alsoisthe mostobviouswithlyrical connectionstothe
characters,withthe repeatedphrasingof ‘beensolong’crystallisingShoshannaunderNazi rule andherlengthy plansof
vengeance.One couldsuggestdualitiesthroughthe constantlyrical repetition‘beensolong’directlylinkedto
Shoshanna,however forthe idiomsaffixedtothe studythere waslittle roomforacademicconsiderationof the text.A
keydualitynotaccreditedtoisthe openingcreditstothe closingcredits,butina tightlyconfinedstudy,the music’s
dominantpurpose istorelaymessagesof the visualsonscreen –withthe choicesinthistextprovingmore fruitful
purelybecause theyhave ascene tounderscore.However,forthe size andconstraintsof the study,itis feasibleto
suggestthe evidence portrayedthroughoutthe studyclearlydemonstratesanexplorationintothe musicof the film,its
purpose,anditscapacity tofacilitate the purpose inquestion.Thisconclusionwouldn’thave beenmetwithoutthe
theoretical andacademicframeworkstomeasure the musicagainst;whilstnosuchcase can be foundinthe thirdmode
of analysisinthe dissertation,the twobeforeiteducatedusintohow tofindwhatwe are lookingfor,culminatinginthe
musicof Morricone comparedto Shoshanna;tworelicsof the filmthatcouldnotbe ignored.

Appendices
Figure 1.1
13%
11%
17%
29%
30%
Chapter Length (M/S)
One: 'Once Upon a Time… in
Nazi-occupied France' 18:26
Two: 'Inglourious Basterds'
15:52
Three: 'German Night in
Paris' 24:11
Four: Operation Kino' 40:36
Five: 'The Revenge of the
Giant Face' 41:31
8%
20%
20%
22%
30%
Musical Chapter Length (M/S)
One: 'Once Upon a Time… in Nazi-
occupied France' 02:47
Two: 'Inglourious Basterds' 06:36
Three: 'German Night in Paris'
06:26
Four: Operation Kino' 07:14
Five: 'The Revenge of the Giant
Face' 10:02

Figure 1.2
8%
20%
12%
4%
10%
46%
RepeatedTexts(inLengthOrder)
"What'd I Say" Rare Earth (Chapter Five; first
appearance) 00:25
What'd I Say Rare Earth (Chapter Five; second
appearance) 00:58
"Slaughter" Billy Preston (Chapter Two; first
appearace) 00:37
"Slaughter" Billy Preston (Chapter Four; second
appearance) 00:11
"White Lightning" Charles Bernstein (Chapter
Two; first appearance) 00:30
"White Lightning" Charles Bernstein (Chapter
Two/Three; second appearance 02:17

KEY SHOTS FROM INGLORIOUS BASTERDS
ChapterOne (Once Upon a Time …
In Nazi-occupiedFrance):The Nazis
arrive at the LaPadite farm.
In Nazi-occupiedFrance):Perrier
LaPadite’sprofilingasNazisarrive.
In Nazi-occupiedFrance):Shoshanna
fleesasLanda lookson.

ChapterTwo (InglouriousBasterds):
We meetHugoStiglitz.
ChapterTwo (InglouriousBasterds):
View fromButz’s foreheadatthe
endof the chapter.
ChapterFour (OperationKino):
Stiglitzbeingwhipped.

ChapterFive (The Revenge of the
Giant Face):Donnyleavesthe
cinema.
Giant Face):DonnyandOmar leave
the cinema.
Giant Face):ShoshannaandMarcel
embrace forthe lasttime.

Giant Face):Frederickshoots
Shoshanna.
Giant Face):Shoshannaand
Frederick’srestingplaces.
Giant Face):“Who wantsto senda
message toGermany?”

Giant Face):“I have a message for
Germany…That you are all goingto
die."

BIBLIOGRAPHY
Literature:
Auner&Lochhead.2002. Postmodern MusicPostmodern Thought.London/New York:Routledge.
Best& Kellner.1991. Postmodern Theory:CriticalInterrogations.London:MacmillanEducationLtd.
Boswell,M.2012. HolocaustImpietyin Literature, PopularMusicand Film. Basingstoke:PalgraveMacmillan.
Brown,Royal S. 1994. Overtonesand Undertones:Reading FilmMusic.Berkeley/LosAngeles/London:Universityof
CaliforniaPress.
Chandler,D.2002. The Basics:Semiotics. Abingdon,Oxon:Routledge.
Connor,S. 3004. The CambridgeCompanion to Postmodernism.Cambridge:CambridgeUniversityPress.
Connor,S. 1989. PostmodernistCulture:An Introduction to Theoriesof theContemporary.Oxford:BlackwellPublishers.
Cooper,B.2000. Beethoven. Oxford:OxfordUniversityPress.
Cumbow,R.C. Once Upon a Time: The Films of Sergio Leone.Metuchen,N.J./London:The Scarecrow Press,Inc.
Dassanowsky,R.V.2012. Quentin Tarantino’sInglouriousBasterds:A Manipulationof Metacinema.New York/London:
ContinuumInternational PublishingGroup.
Dawson,J.1995. Quentin Tarantino:The Cinema of Cool.New York: Applause Books.
Donnelly,K.J.2001. Film Music: Critical Approaches. New York/London:ContinuumInternationalPublishingGroup.
Friedburg,A.1993. WindowShopping:Cinema and thePostmodern.Berkeley/LosAngeles/London:Universityof
CaliforniaPress.
Gorbman,C. 1987. Unheard Melodies:NarrativeFilmMusic. Bloomington:Universityof IndianaPress.
Grove, George, Sir, 1820-1900; Sadie, Stanley, 1930-;Tyrrell, John. 2001. The New Grove Dictionary of Musicand
Musicians. London:Macmillan.

Holm,D. K. 2004. The Pocket Essentials:Quentin Tarantino.Harpenden:PocketEssentials.
Knight& Wojcik.2001. SoundtrackAvailable:Essayson Filmand PopularMusic. Durhamand London:Duke University
Press.
Larsen, P. 2005. Film Music. London: Reaktion Books Ltd.
Mundy,J. 1999. PopularMusicon Screen: FromHollywood Musicalto MusicVideo.Manchester:Universityof
ManchesterPress.
Pickering,M.2008. Research MethodsforCulturalStudies.Edinburgh:EdinburghUniversityPressLtd.
Powrie &Stilwell.2006. Changing Tunes:TheUseof Pre-existing Musicin Film. Aldershot:AshgatePublishingLtd.
Rapée,Erno.1974 (originally1924). Motion PictureMoodsforPianistsand Organists.New York:ArnoPress.
Sharrett,Christopher.1993. Crisis Cinema:The ApocalypticIdea in Postmodern NarrativeFilm.WashingtonDC:
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Smart, B. 1993. Postmodernity:Key Ideas.London:Routledge.
Smith,J.1998. The Soundsof Commerce:Marketing PopularFilmMusic. New York/Chichester,WestSussex:Columbia
UniversityPress.
Storey,J.1993. An Introductory Guideto Cultural Theory and PopularCulture.Hemel Hempstead,Hertfordshire:
HarvesterWheatsheaf.
Strinati,D.1995. An Introduction to Theoriesof PopularCulture. London/New York:Routledge.
Tasker,Y. 2002.Fifty Contemporary Filmmakers.London:Routledge.
Zelizer,B.2001. VisualCultureand the Holocaust.London:The Athlone Press.

Films:
Sollima,S(Director) (1966).The BigGundown.VHS:Unknown.
Tarantino,Q (Director) (2007). Deathproof. DVD.A BandApart Productions.
Tarantino,Q (Director) (1997). JackieBrown.DVD.A Band ApartProductions.
Tarantino,Q (Director) (2003). Kill Bill Vol.1. DVD.A Band ApartProductions.
Tarantino,Q (Director) (2004). Kill Bill Vol.2. DVD.A Band ApartProductions.
Tarantino,Q (Director) (2009). InglouriousBasterds.DVD.A BandApartProductions.
Tarantino,Q (Director) (1994). Pulp Fiction. DVD.A Band ApartProductions.
Tarantino,Q (Director) (1992). ReservoirDogs.DVD.A Band ApartProductions.
Websites:
http://www.bbc.co.uk/films/2003/10/06/quentin_tarantino_kill_bill_volume1_interview.shtml
http://www.filmscoremonthly.com/board/posts.cfm?threadID=68442&forumID=1&archive=0
http://www.tagg.org/udem/musimgmot/filmfunx.html
http://www.villagevoice.com/2009-08-18/news/quentin-tarantino-the-inglourious-basterds-interview/
http://en.wikipedia.org/wiki/Postmodernist_film

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