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Notes
Notes
1 Charania, “Django Unchained, Voyeurism Unleashed,” in Contexts.
2 Temoney, “The ‘D’ Is Silent, but Human Rights Are Not: Django Unchained as Human Rights Discourse,” in Quentin Tarantino’s Django Unchained, p. 124.
3 Roche, Quentin Tarantino: Poetics and Politics of Cinematic Metafiction, p. 15.
4 Morris-Suzuki, The Past Within Us: Media, Memory, History.
5 Ralph, “Theoretical Ramifications of Django Unchained,” in American Anthropologist, p. 155.
6 Žižek, Enjoy Your Symptom.
7 Bunzl, “Counterfactual History: A User’s Guide,” in American Historical Review.
8 Žižek, Incontinence of the Void: Economico-Philosophical Spandrels.
9 McGowan and Kunkle, “Introduction: Lacanian Psychoanalysis in Film Theory,” in Lacan and Contemporary Film, p. xvii.
10 Lentin, “Post-Race, Post-Politics: The Paradoxical Rise of Culture After Multiculturalism,” in Ethnic and Racial Studies.
11 Lacanian psychoanalysis uses three registers: the Symbolic, the Imaginary, and the Real.
12 Vighi, “Contingent Encounters and Retroactive Signification: Zooming In on the Dialectical Core of Žižek’s Film Criticism,” in Žižek and Media Studies.
13 McGowan, Psychanalytic Film Theory and the Rules of the Game, pp. 32–3.
14 Flisfeder, The Symbolic, the Sublime, and Slavoj Žižek’s Theory of Film.
15 Ibid., 95.
16 Ibid., 150.
17 Vighi, Contingent Encounters, p. 135.
18 Ibid., p. 132.
19 Fuchs, Quentin Tarantino: Inglorious Basterds—An Antifascist Movie Masterpiece.
20 Žižek, Disparities, p. 189, original emphasis.
21 Ibid.
22 Ibid., p. 299.
23 Temoney, D Is Silent.
24 Ibid., p. 129.
25 Flisfeder, Symbolic, p. 95.
26 Ibid.
27 Landsberg, “Horror Vérité: Politics and History in Jordan Peele’s Get Out (2017),” in Continuum, p. 632.
28 Anderson, Stephenson, and Anderson, “Crowdsourcing ‘The Bad-Ass Slave:’ A Critique of Quentin Tarantino’s Django Unchained,” in Quentin Tarantino’s Django Unchained, p. 237.
29 Previous to Django Unchained, various commenters had noted Tarantino’s penchant for drawing upon the “revenge fantasy,” most notably, Kill Bill: Vol. 1 (2003) and Kill Bill: Vol. 2 (2004). See Dawson, “Revenge and the Family Romance in Tarantino’s Kill Bill,” in Mosaic: A Journal for the Interdisciplinary Study of Literature.
30 Ibid., p. 122.
31 Ralph extends this example to include “extrajudicial killings like Operation Geronimo, which resulted in the death of Osama bin Laden, as well as the drone strikes that have become a mainstay of U.S. foreign policy during the presidencies of George W. Bush and Barack H. Obama” (Theoretical Ramifications, p. 157, original parenthesis deleted).
32 Ford, “Close-Up: Fugitivity and the Filmic Imagination: Blackness and Legend,” in Black Camera: The New Series.
33 Ford, Close-Up.
34 Carpio, “I Like the Way You Die, Boy,” in Transition, p. 12.
35 Ibid.
36 Roche, Quentin, p. 33.
37 Fagan, “Interpellating Django: The Functions of the Gaze in Tarantino’s Django Unchained,” in International Journal of Žižek Studies.
38 Žižek (Disparities) frequently reflects upon the role of the jokes during the Communist regime in Yugoslavia—jokes that worked to support the ruling Communist regime.
39 Kraus, “Who Gets to Shoot Hitler? Quentin Tarantino’s Inglourious Basterds and the Directorial Contest Over the Gaze of the Victor and the Victim,” in Quarterly Review of Film and Video, p. 452.
40 Fagan, Interpellating, p. 1.
41 Weaver and Kathol, “Guess Who’s Coming to Get Her: Stereotypes, Mythification, and White Redemption,” in Quentin Tarantino’s Django Unchained. Notable film director Spike Lee echoed these concerns. While refusing to watch the film, he later stated, “American slavery was not a Sergio Leone Spaghetti Western. It was a Holocaust. My ancestors are slaves stolen from Africa. I will honor them” (Child, “Django Unchained Wins Over Black Audience Despite Spike Lee Criticism,” in The Guardian).
42 Bonilla, “History Unchained,” in Transition, p. 72.
43 Landsberg, Horror Vérité. In fact, in a cited interview, Peele explained, “that the movie subverts the idea of all genres” (Virtue, “Is Get Out a Horror Film, a Comedy… or a Documentary?”).
44 Dawson, Revenge, p. 122.
45 Wucher, “‘Let’s Get into Character’: Role-Playing in Quentin Tarantino’s Postmodern Sandbox,” in Journal of Popular Culture.
46 Jameson, The Cultural Turn: Selected Writings on the Postmodern, 1983–1998.
47 Gunkel, “Recombinant Thought: Slavoj Žižek and the Art and Science of the Mashup,” in International Journal of Žižek Studies.
48 Ibid., p. 9.
49 Ibid., p. 6.
50 Jameson, Cultural Turn.
51 Temoney, D Is Silent, p. 136.
52 Wilcox, “Don DeLillo's Libra: History as Text, History as Trauma,” in Rethinking History.
53 Elsaesser, German Cinema—Terror and Trauma.
54 Roche, Quentin, p. 25.
55 Desilet, Screens of Blood: A Critical Approach to Film and Television Violence.
56 Roche, Quentin; Nama, Race on the QT: Blackness and the Films of Quentin Tarantino;
57 Ibid.; Carpio, I Like the Way, p. 7.
58 Temoney, D Is Silent, p. 130.
59 Nama, Race on QT, p. 73.
60 Fagan, Interpellating Django, p. 2.
61 Roche, Quentin.
62 Fagan, Interpellating Django, p. 4.
63 Žižek, Violence: Six Sideways Reflections.
64 Temoney, D Is Silent.
65 Ibid., pp. 132–3.
66 Ibid., pp. 136.
67 Žižek, The Sublime Object of Ideology, p. 58.
68 McGowan, Introduction, p. xvi.
69 Shapiro, Politics and Time, p. 36, discussing Benjamin’s temporal plasticity. Benjamin, Early Writings (1910–1917).
70 Shapiro, Politics and Time, p. 36.
71 Ibid.
72 Žižek, Disparities, p. 294.
73 Flisfeder, Symbolic, p. 115.
74 Bunzl, Counterfactual History, p. 855.
75 Edkins, “Remembering Relationality: Trauma Time and Politics, in Memory, Trauma and World Politics, p. 114.
76 Žižek, Disparities, p. 299. In fact, Žižek draws upon a film example to help explain this point:
In Robert Harris’s The Ghost (filmed by Polanski), a ghostwriter for Adam Lang, the UK former prime minister modeled on Tony Blair, discovers that Lang was planted in the Labour Party and manipulated all along by the CIA; the New York Observer commented that the book’s “shock-horror revelation” was “so shocking it simply can’t be true, though if it were it would certainly explain pretty much everything about the recent history of Great Britain.” Do we not find here a perfect example of counterfactual statement: ‘If Blair were to be a CIA agent—which he was not—it would explain everything about recent UK politics?’ In other words, the plot of The Ghost is the perfect case of a lie, a false premise, which enable us to the truth of the Blair years, a counterfactual premise which renders palpable actual truth.”
77 Roche, Quentin, p. 18.
78 Žižek, Disparities, p. 294.
79 Wilcox, Don DeLillo's Libra, p. 351.
80 Žižek, Absolute Recoil: Towards a New Foundation of Dialectical Materialism, p. 103.
81 Flisfeder, Symbolic.
82 Žižek, Disparities.
83 Žižek and Daly, Conversations with Zizek p. 102–3.
84 Žižek, Sublime Object, p. 190.
85 Žižek, Absolute Recoil, p. 108.
86 Moolenaar, “Slavoj Žižek and the Real Subject of Politics,” in Studies in East European Thought, p. 273.
87 Žižek, Conversations.
88 Seery, “Slavoj Žižek 's dialectics of ideology and the discourses of Irish education,” in Irish Educational Studies, p. 143.
89 Žižek, Conversations.
90 Hurley, “Real Virtuality: Slavoj Žižek and ‘Post-Ideological’ Ideology,” in Postmodern Culture: Journal of Interdisciplinary Thought on Contemporary Cultures, para 14.
91 Wilcox, Don DeLillo's Libra, p. 348.
92 Ibid., p. 351.
93 Elsaesser, German Cinema, p. 216.
94 Vighi, Contingent Encounters, p. 132.
95 McGowan, Introduction, p. xxiii.
96 Noys, “The Horror of the Real: Žižek’s Modern Gothic,” in International Journal of Žižek Studies.
97 Fagan, Interpellating Django, p. 3.
98 Ford, Close-Up, p. 200.
99 Hayes and Rodman, “Thirteen Ways of Looking at a Black Film: What Does It Mean to Be a Black Film in Twenty-First Century America?” in Quentin Tarantino’s Django Unchained, p. 195.
100 Morris-Suzuki, Past Within, p. 152; italics in original.
101 Hayes and Rodman, Thirteen, p. 196.
102 Žižek, “On 9/11, New Yorkers Faced the Fire In the Minds of Men,” in The Guardian.
103 McGowan, Psychanalytic, p. 15, footnote 11.
104 Fisher, Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures, p. 128.
105 Ford, Close-Up.
106 Ibid., p. 200–1.
107 McGowan, Psychanalytic, p. 81.
108 Moolenaar, Slavoj, p. 276.
109 Ibid.
110 Žižek, Sublime Object, p. 182.
111 Noys, Horror of Real.
112 Žižek, Enjoy, p. 2.
113 Sharpe, Slavoj Žižek: A Little Piece of the Real, p. 145; italics original.
114 McGowan, Psychanalytic, p. 77.
115 Flisfeder, Symbolic.
116 Vighi, Contingent Encounters, p. 142.
117 Hayes and Rodman, Thirteen, p. 190–1.
118 Chen and Yu, “The Parallax Gap in Gish Jen's The Love Wife: The Imaginary Relationship Between First-World and Third-World Women,” in Critique: Studies in Contemporary Fiction, p. 411.
119 Bonic, “Psychoanalysis and Comedy: The (Im)Possibility of Changing the Socio–Symbolic Order,” in S: Journal of the Jan van Eyck Circle for Lacanian Ideology Critique, pp. 106–7.
120 Lentin, Post-Race.
121 Žižek, The Ticklish Subject.
122 McGowan, Psychanalytic, p. 52.
123 Ibid., p. 79.
124 Landsberg, Horror Vérité, p. 634.
125 Charania, Django, p. 60.
126 Žižek, Disparities.
127 Carpio, I Like the Way, p. 8.
128 Johnson, Allegories of Empire, p. 20–1.
129 McGowan, Psychanalytic.
130 Ibid., p. 81.
131 Rappeport, “Hillary Clinton’s ‘All Lives Matter’ Remarks Stirs Backlash,” in
132 Clayton, “Black Lives Matter and the Civil Rights Movement: A Comparative Analysis of Tow Social Movements in the United States,” in Journal of Black Studies.
133 Kunkle, “Act,” in The Žižek Dictionary, p. 5.
134 Žižek, Sublime Object, p. xxvii.
135 Temoney, D Is Silent, p. 126.
136 Butler, Laclau, and Žižek, Contingency, Hegemony, Universality, p. 246.
137 Santner, Miracles Happen: Benjamin, Rosenzweig, and the Limits of the Enlightenment.
138 Santner cited in Žižek, “Lenin Shot at Finland Station,” in London Review of Books, para 8.
139 Elsaesser, German Cinema, p. 211.
140 Bonilla, History Unchained, p. 74.
141 Landsberg, Horror Vérité, p. 640.
142 Žižek, Incontinence, p. 160.
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Jack Black
Jack Black is a Senior Lecturer in Sport Studies at Sheffield Hallam University. His research examines the interrelationships between sociology, media and communications and cultural studies—publishing on topics relating to nationalism/national identity, gender, celebrity, journalism and terrorism; theoretically informed analyses of power and cultural representation; and ecological approaches to nature, culture and leisure/sport. Jack’s work remains philosophically informed, with particular attention afforded to the relationship between philosophy and critical social theory.