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

Research output: Chapter in Book/Report/Conference proceedingChapter (peer-reviewed)

Abstract

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.
Original languageEnglish
Title of host publicationPopular Music and the New Auteur: Visionary Filmmakers after MTV
EditorsA. Ashby
Place of PublicationNew York
PublisherOxford University Press (OUP)
Edition1
ISBN (Print)9780199827336
Publication statusPublished - 2013

Keywords

  • Quentin Tarantino
  • Inglourious Basterds
  • Death Proof
  • Kill Bill
  • film soundtracks

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  • Cite this

    Garner, K. (2013). You've heard this one before: Quentin Tarantino's scoring practices from Kill Bill to Inglourious Basterds. In A. Ashby (Ed.), Popular Music and the New Auteur: Visionary Filmmakers after MTV (1 ed.). Oxford University Press (OUP). http://ukcatalogue.oup.com/product/academic/music/theory/9780199827336.do