Discuss the Ways in Which Quentin Tarantino Used Cameraworl, Sound, and Mise-En Scene to Create Meaning for the Audience in the Opening Scene of 'Inglorious Basterds'

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Discuss The Ways In Which Quentin Tarantino Used Cameraworl, Sound, and Mise-en Scene To Create Meaning For The Audience In The Opening Scene Of 'Inglorious Basterds' Inglorious Basterds (2009)
Inglorious Basterds was written by Quentin Tarantino in 1988, after having borrowed the title from a Castellari film made in 1978. This reference to the 78 version is an example of the legendary intertexuality, innate to Tarantino films. Even though the only echoed topic matter was a second world war backdrop, Tarantino gave castellari a cameo role as a Nazi. Due to Tarantino encountering difficulities completing the end of the script he delayed the movies production for ten years and returned to producing the sequal to Kill Bill meanwhile. This lengthy pre-production time is classic Tarantino, despite the argument that it was justified. On a seventy million dollar budget, grossing three hundred and twenty one million, and opening on 3165 screens in the US it became Tarantino's highest grossing film to date. This has now been outdone by Django Unchained in 2012. Christophe Waltz, who is heavily featured in the scene i will analyse, won five awards for his performance as 'Colonel Landa' including best actor of Cannes Film Festival. The film follows two attempts to assasinate Hitler. One carried out by a group of American Soldiers dropped behind enemy lines, and one of a Judeo-French cinema owner. Tarantino decided to veer from the truth in regards to some outcomes of the second world war, yet simultaneously introduces various realistic characters from different sources to give the film a feel of potential realism. At the end of the film Tarantino uses the closing stages to chip away at the fourth wall whilst also displaying great distaste for the individuals within the Nazi regime. As the main antagonist is being transferred to a safe location post capture, one of the central protagonists cuts a swastika into his forehead and looks directly into the camera and says "this may well be my masterpiece". This could be interpreted as Tarantino's pride in regard to this masterpiece, which is conceptually complimented by the degree of preparation and writing he invested. I will explore Tarantino's intentions as a director in regards to his output by looking at camerawork, mise-en scene and sound. The scene i will analyse is the opening scene of the film, following a calm song and the credits over a black backdrop (a further tribute to the 1978 version). Text establishes the location ('nazi occupied france') and by doing so immediately pairs the audience with the French (assuming Tarantino isnt proNazi), it then continues this proccess by progressing into a wide shot of a house set upon a beatuiful French countryside. This shot is there to impart the tranquility and innocence of the environment, whilst the audience is still aware of the thick layer of tension which the resident must be under and ultimately the violence which will consume any naivity the land may possess. A series of medium shots of classic roles are shown such a the male chopping wood (from a low angle medium shot), highlighting both his power and the instrumental role, and his daughter taking part in teritary roles in this case hanging washing. A jump shot shows the first daughter brushing aside the material she had hung to reveal a Nazi convoy piercing the countryside physically (through clashing mis en scene), conceptually by having her cut the frame in half with the reveal motion and auditorially by cueing Fur Elise, a German classical Piece. In the meantime, the daughter utters the first line of the film and french and a combination of subtitles, fear in her voice and context further pair the audience with the family. This scene is designed to set the tone of the central protagonists main adversary. Use of medium long shots with the colonel centrally framed help keep the audience aware of a sense of intrusion and fear for the French's domiscile and lives alike. The...
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