You've heard this one before: Quentin Tarantino's scoring practices from Kill Bill to Inglourious Basterds

In this chapter the author analyses Quentin Tarantino’s choice of music for his films from Kill Bill to Inglourious Basterds, moderating his previously published work on music in Tarantino’s early films. He argues that while some of the director’s trademark early uses of characters’ on-screen music selection to indicate motivation, and of largely neglected old pop records for main titles remain, these characteristics have been largely replaced by the practice of scoring from existing film score soundtrack albums from 1960-1979.