Quentin Tarantino:
A Bibliography of Materials in the UC Berkeley Library












General Books and Journal Articles

Articles and Books on Individual films

Books/Journal Articles/Videos

Berg, Charles Ramírez.
"A Taxonomy of Alternative Plots in Recent Films: Classifying the "Tarantino Effect." Film Criticism, Fall/Winter2006, Vol. 31 Issue 1/2, p5-61, 57p
UC users only

Boggs, Carl; Pollard, Tom.
"Postmodern Cinema and Hollywood Culture in an Age of Corporate Colonization." Democracy & Nature: The International Journal of Inclusive Democracy, Mar2001, Vol. 7 Issue 1, p159-181, 23p
UC users only

Borger, Lenny
"Genius is just a word."Sight & Sound Vol VIII nr 9 (Sept 1998); p 28-31
A reappraisal of writer-director Duvivier's career, which argues that, although his reputation peaked in the 1930's, his films are as modern as those of Quentin Tarantino.

Botting, Fred.
Tarantinian ethics London : SAGE, 2001.
MAIN: PN1998.3.T358 B688 2001

Botting, Fred; Scott Wilson.
"By accident: the Tarantinian ethics." (screenwriter Quentin Tarantino) Fred Botting, Theory, Culture & Society May 1998 v15 n2 p89(25)
"The standard of ethics portrayed in the screenplays of Quentin Tarantino relies on the introduction of real events to trigger its application. Chance, accidents and actions of excess create revelations and generate bonds between characters. An ethical standard does not produce a social order, but depends on the interaction of human beings and their situations." [Expanded Academic Index]

Botting, Fred; Wilson, Scott.
"'Uuummmm, that's a tasty burger': Quentin Tarantino and the Consumption of Excess." Parallax, Jan2001, Vol. 7 Issue 1, p29-47, 19p
UC users only

Bouzereau, Laurent.
Ultraviolent movies : from Sam Peckinpah to Quentin Tarantino / Laurent Bouzereau. Secaucus, N.J. : Carol Pub. Group, c1996.
Main (Gardner) Stacks PN1995.9.V5 B68 1996

Bowman, James
"On the Q.T." (Quentin Tarantino's movies and his followers') The American Spectator Nov 1996 v29 n11 p72(2)
Quentin Tarantino's 'Pulp Fiction' started a trend among young directors to follow his style. Cliches were used and given unusual twist. The results range from the worst, Reb Braddock's 'Curdled,' to the most fun, Russ Hexter's 'Dadetown.' In between is Walter Hill's 'Last Man Standing.'

"Brian De Palma talks to Quentin Tarantino."
In: Film-makers on film-making / edited by John Boorman and Walter Donohue. London : Faber and Faber, 1996.
Main Stack PN1994.F43912 1996

Bush, Lyall
"Doing Brando." Film Comment Vol XXXII nr 1 (Jan-Feb 1996); p 83-88
UC users only
Actors and directors ever since have tried to imitate the macho image of Marlon Brando created in his early films. Director Quentin Tarantino strives to recreate the hard, unforgiving energy of Brando in his films. Actors as different as Al Pacino, Robert De Niro and John Travolta are also imitators.

Cavallero, Jonathan J.
Italian/American filmmakers in American motion pictures: The films of Capra, Scorsese, Savoca, Coppola, and Tarantino (Disseration: Indiana University, 2007)
Full-text available online (UC Berkeley users only)

Charyn, Jerome.
Raised by wolves : the turbulent art and times of Quentin Tarantino New York : Thunder's Mouth Press, c2006.
MAIN: PN1998.3.T358 C53 2006

Clarkson, Wensley.
Quentin Tarantino : shooting from the hip Woodstock, N.Y. : Overlook Press, 1995.
MOFF: PN1998.3.T358 C63 1995

"A conversation with Quentin Tarantino." Newsweek Dec 26, 1994 v124 n26 p119(1) (870 words)
UC users only
The 31-year-old director received acclaim for his first film, 'Reservoir Dogs,' and his 1994 film, 'Pulp Fiction,' won top prize at the Cannes film festival. Tarantino talks about 'Pulp Fiction,' his mother, politics, television and making films.

Corliss, Richard
"Quentin Tarantino: The Value Of Teen-Boy Fixations." (Time 100/Artists & Entertainers)(Profile)(Brief Article) Time April 18, 2005 v165 i16 p132 (294 words)
UC users only

Crouch, Stanley.
"Blues in more than one color : the films of Quentin Tarantino." In: The artificial white man : essays on authenticity New York : Basic Civitas Books, c2004.
Main Stack P94.5.M552.U6275 2004

Crouch, Stanley.
"Eggplant blues: the miscegenated cinema of Quentin Tarantino." In: The all-American skin game, or, The decoy of race : the long and the short of it, 1990-1994 p. 229-36. New York : Pantheon Books, c1995.
MAIN: E185.615 .C77 1995
MOFF: E185.615 .C77 1995

Fedderman, Marc R.
Let's get into character: Gender depictions in the films of Quentin Tarantino (Disseration: Florida Atlantic University, 2009)
Full-text available online (UC Berkeley users only)

Fraiman, Susan
"Quentin Tarantino: Anatomy of Cool." In: Cool Men and the Second Sex Columbia University Press, 2003
Full-text of this book available online via ebrary [UC Berkeley users only]
MAIN: HQ1090 .F73 2003

Gallafent, Edward.
Quentin Tarantino Harlow, England ; New York : Pearson Longman, 2006.
MAIN: PN1998.3.T358 G35 2006

Garner, Ken
"'Would you like to hear some music?' : music in-and-out-of-control in the films of Quentin Tarantino." In: Film music : critical approaches / edited by K.J. Donnelly. New York : Continuum, 2001.
Harris, Matthew.
Love and Cinema---Cinephilia, Style, and the Films of Quentin Tarantino (Disseration: Carleton University (Canada), 2011)
Full-text available online (UC Berkeley users only)

Hirschberg, Lynn
"The man who changed everything." (Quentin Tarantino, creator of 'Pulp Fiction' and the new 'Jackie Brown')(The Two Hollywoods: A Special Issue)(Cover Story)(Interview) The New York Times Magazine Nov 16, 1997 p112 col 1 (73 col in)
"Tarantino is in control of every aspect of his filmmaking. The company with the original option on 'Pulp Fiction' did not see it until the final draft was brought. Differences in casting options prevented them from even making the film. Tarantino went elsewhere. He discussed filmmaking and controls." [Expanded Academic Index]

Kermode, Mark
"Endnotes." Sight & Sound Vol V nr 2 (Feb 1995); p 62
"Film producer Quentin Tarantino, who produced Hollywood blockbusters such as 'Reservoir Dogs,' 'Pulp Fiction,' 'Natural Born Killers' and 'Four Weddings and a Funeral,' used dialogues in the soundtrack albums of his movies. Tarantino's sound tracks are liberally spaced with speeches that can be understood by only the most knowledgeable among his movie fans. Dialogues on soundtracks have been previously used with remarkable success in Olivier's 1944 movie 'Henry V' and 'The Caine Mutiny' of 1954." [Expanded Academic Index]

MacFarquhar, Larissa.
"The Movie Lover: In Quentin Tarantino's Mind, the Projector Never Stops Running." New Yorker, vol. 79, no. 31, pp. 146-59, Fall 2003.
UC users only

Mills, Jane
"Catch Me If You Can: The Tarantino Legacy." Bright Lights Film Journal April 2002 | Issue 36

Page, Edwin.
Quintessential Tarantino London ; New York : Marion Boyars Publishers, 2005.
MAIN: PN1998.3.T358 P34 2005
PFA : PN1998.3.T352 P34 2005

Peake, Glenn.
"Icons, Iconoclasts, and Ideology: The Strange Case of Quentin Tarantino." University of Dayton Review, vol. 24, no. 1, pp. 55-61, Fall 1996.

Penman, Ian
"don't try this at home." In: Vital signs : music, movies and other manias p. 343-48. London ; [New York]: Serpent's Tail, c1998.

Poleg, Dror
"The Unbearable Lightness of Being Cool: Appropriation and Prospects of Subversion in the Works of Quentin Tarantino." Bright Lights Film Journal, vol. 45, pp. (no pagination), August 2004.

Pulping fictions : consuming culture across the literature/media divide
Edited by Deborah Cartmell ... [et al.]. London ; Chicago : Pluto Press, 1996.
Main Stack PN1995.3.P85 1996

Quentin Tarantino and philosophy : how to philosophize with a pair of pliers and a blowtorch
Edited by Richard Greene and K. Silem Mohammad. Chicago : Open Court, c2007.
Full-text available online (UC Berkeley users only)
MOFF: PN1998.3.T358 Q46 2007
Contents: Tarantino's films: what are they about and what can we learn from them? / Bruce Russell -- Stuntman Mike, simulation, and sadism in death proof / Aaron C. Anderson -- Unleashing Nietzsche on the tragic infrastructure of Tarantino's Reservoir dogs / Travis Anderson -- The moral lives of Reservoir dogs / James H. Spence -- Revenge and mercy in Tarantino / David Kyle Johnson -- "I'm a bad person" : Beatrix Kiddo's rampage and virtue / Rachel Robison -- A sword of righteousness : Kill Bill and the ethics of vengeance / Timothy Dean Roth -- Stuck in the middle with you : Mr. Blonde and retributive justice / Joseph Ulatowski -- "I didn't know you liked the Delfonics": knowledge and pragmatism in Jackie Brown / K. Silem Mohammad -- Vinnie's very bad day : twisting the tale of time in Pulp fiction / Randall E. Auxier -- Coke into Pepsi : the miracle in Pulp fiction / Keith Allen Korcz -- Quentin Tarantino and the ex-convict's dilemma / Richard Greene -- Kill Bill : Tarantino's oedipal play / Mark T. Conard -- Travolta's Elvis man and the Nietzschean superman / Bence Nanay and Ian Schnee -- Could Beatrix Kiddo reach enlightenment? traces of Buddhist philosophy in Kill Bill / Luke Cuddy and Michael Bruce.

Quentin Tarantino : the film geek files
Edited by Paul A. Woods. London : Plexus, c2000.
PFA : PN1998.3.T352 Q46 2000

Rennett, Michael D.
Quentin Tarantino and the director as DJ (Disseration: Chapman University, 2006)
Full-text available online (UC Berkeley users only)

Rosenbaum, Ron
"The pissing contest." (examination of personalities and work of film directors Oliver Stone and Quentin Tarantino) Esquire Dec 1997 v128 n6 p38(4) (2466 words)
UC users only
"The personal conflict between directors Stone and Tarantino grew out of a perception by Tarantino that Stone mishandled his script for 'Natural Born Killers.' The personalities and work of the two are recall the polarity between writers Ernest Hemingway and F. Scott Fitzgerald." [Expanded Academic Index]

Smith, Jim
Tarantino London : Virgin, 2005.
MAIN: PN1998.3.T358 S65 2005

Surcouf, Yannick.
Quentin Tarantino de A a Z Paris : Editions Méréal, c1998.
MAIN: PN1998.3.T358 S87 1998

"Tarantino, Quentin." (film director) Current Biography Oct 1995 v56 n10 p53(5)
Quentin Tarantino is a controversial film director and screenwriter whose violent works have won critical acclaim. His films include 'Reservoir Dogs' and 'Pulp Fiction.' His life and career are profiled, and critical reaction to his work is discussed.

Tarantino, Quentin.
Quentin Tarantino : interviews Jackson : University Press of Mississippi, c1998.
MAIN: PN1998.3.T358 A5 1998;

Tierney, Sean
"Quentin Tarantino in black and white." In: Critical rhetorics of race / edited by Michael G. Lacy and Kent A. Ono. New York : New York University Press, c2011.
Main (Gardner) Stacks E185.8 .C88 2011

Tuck, Greg
"Laughter in the dark : irony, black comedy and noir in the films of David Lynch, the Coen Brothers and Quentin Tarantino." In: Neo-noir / edited by Mark Bould, Kathrina Glitre and Greg Tuck. London ; New York : Wallflower Press, 2009.
Main (Gardner) Stacks PN1995.9.F54 N46 2009

Weinberger, Stephen
"It's not easy being Pink: Tarantino's ultimate professional." Literature-Film Quarterly, Jan 2004 v32 i1 p46-50
UC users only
"Quentin Tarantino's film making style of remarkable dialogue, nonlinear chronology and his ability to create interesting characters attracts the attention of critics, scholars and actors. His film, Reservoir Dogs, deals with the issue of professionalism where the term profession is used as an expression of praise and also involves living according to a particular set of values." [Expanded Academic Index]

Wild, David
"Quentin Tarantino." (film director) Rolling Stone Nov 3, 1994 n694 p76(6)
Tarantino, who directed 'Pulp Fiction' and 'Reservoir Dogs,' is a 31-year-old high school dropout who did not go to film school. He discusses his love of film, his childhood, his years working at a video store and other topics.

Willis, Sharon
"The fathers watch the boys' room."Camera Obscura nr 32 (Sept-Jan 1993-94); p 40-73
Analyses the major concerns of Tarantino's films notably "Pulp fiction", focusing on his obsession with race, violence and the father figure.

"Would you like to hear some music?' : music in-and-out-of-control in the films of Quentin Tarantino."
In: Film music : critical approaches / edited by K.J. Donnelly. New York : Continuum, 2001.
Music ML2075.F453 2001

Articles and Books on Individual films

Grindhouse

Alter, Ethan.
"Grindhouse." Film Journal International, May2007, Vol. 110 Issue 5, p44-45, 2p
UC users only

Atkinson, Mike
"Givers of the viscera." Sight & Sound; Jun2007, Vol. 17 Issue 6, p19-21, 3p
UC users only
The article examines grindhouse cinema. According to the author, Quentin Tarantino and Robert Rodriguez's motion picture "Grindhouse" is a self-glorifying attempt to homage the unhomageable and to recreate an unattainable past. The article discusses several films, including "The Good German," Jack Hill's "Switchblade Sisters," and David Friedman's "Blood Feast."

Benson-Allott, Caetlin
"Grindhouse: An Experiment In The Death Of Cinema." Film Quarterly; Fall2008, Vol. 62 Issue 1, P20-24, 5p
UC users only

Biswas-Diener, Robert
"Revenge fantasies." PsycCRITIQUES, Vol 54(42), 2009.
UC users only

James, Nick.
"Welcome to the grindhouse.: Sight & Sound, Jun2007, Vol. 17 Issue 6, p16-18, 3p
UC users only

Lovece, Frank
"Return to the Grindhouse." Film Journal International; Apr2007, Vol. 110 Issue 4, p90-110, 2p, 2 color
UC users only

McRoy, Jay.
"'The Kids of Today Should Defend Themselves Against the 70s: Simulating Auras and Marketing Nostalgia in Robert Rodriguez and Quentin Tarantino's Grindhouse." In: American horror film : the genre at the turn of the millennium / edited by Steffen Hantke. Jackson : University Press of Mississippi, c2010.
Full-text available online [UC Berkeley users only]
Moffitt PN1995.9.H6 A385 2010
PFA PN1995.9.H6 A385 2010

Nashawaty, Chris; Labrecque, Jeff
"Bloodbath and Beyond." Entertainment Weekly; 3/30/2007, Issue 927, p24-30, 6p
UC users only

Inglourious Basterds

Beck, Bernard.
"Hail the Conquering Hero: Remembering the Troops in The Hurt Locker, Inglourious Basterds and Avatar." Multicultural Perspectives, Oct-Dec2010, Vol. 12 Issue 4, p213-216, 4p
UC users only

Biswas-Diener, Robert.
"Revenge fantasies." PsycCRITIQUES, Vol 54(42), 2009
UC users only

Boswell, Matthew
"Inglourious basterds (Quentin Tarantino, 2009)." In: Holocaust impiety in literature, popular music and film / Matthew Boswell. Basingstoke ; New York : Palgrave Macmillan, 2012.
Main (Gardner) Stacks PN56.H55 B67 2012

Dargis, Manohla.
"Tarantino Avengers In Nazi Movieland." New York Times. (Late Edition (East Coast)). New York, N.Y.: Aug 21, 2009. pg. C.1
UC users only

Detweiler, Craig.
"James Cameron's Cathedral: Avatar Revives the Religious Spectacle." Journal of Religion & Film, Apr2010, Vol. 14 Issue 1, Special Section p1-5, 5p
UC users only

Doherty, Thomas
"Inglourious Basterds." Cineaste - America's Leading Magazine on the Art and Politics of the Cinema 35:1 (Winter 2009) p. 59-61
UC users only

Gilbey, Ryan
"Days of Gloury." Sight and Sound, vol. 19, no. 9, pp. 16-21, Sept 2009
UC users only

Holtmeier, Matthew.
"Post-Pandoran Depression or Na'vi Sympathy: Avatar, Affect, and Audience Reception." Journal for the Study of Religion, Nature & Culture, Dec2010, Vol. 4 Issue 4, p414-424, 11p
UC users only

Jones, Mary Jo.
"Inglourious Basterds." Journal of Feminist Family Therapy, Oct-Dec2010, Vol. 22 Issue 4, p325-328, 4p;
UC users only

Kahn, Paul W.
"Criminal and Enemy in the Political Imagination" Yale Review 99. 1 (2011 Jan): 148-167.
UC users only

Kanda, L. Leann; Wagner, Rachel.
"Avatar." Journal of Religion & Film, Apr2010, Vol. 14 Issue 1, Special Section p1-5, 5p
UC users only

Klawans, Stuart
"Emotional Rescue." Nation; 10/5/2009, Vol. 289 Issue 10, p35, 2p
UC users only

Leo, John R.
"Mod High Low Sub Cultural Basterds: Tarantino's Wars, Sideways."

Meade, Frederick Alexander.
"Avatar: An Extension of White Supremacy." Journal of Pan African Studies, 2010, Vol. 3 Issue 6, p207-210, 4p
UC users only
The article discusses the author's view on the social and political impact of the box office film "Avatar." The author narrates the story of the film from a planet with natural resources like Earth which is prone to exploitation by gathering its resources for entrepreneurial purposes. He also compares the film on the history of Africa which was headed by the European colonialists, who rob the indigenous people of the country's organic capital and forced to remove from their homeland.

Natoli, Joseph.
"The Deep Morals of Inglorious Basterds." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema 52 (2009): (no pagination).

Newman, Kim
"Inglourious Basterds." Sight and Sound 19:9 (September 2009) p. 73
UC users only

Nichols, Bradley.
"Inglourious Basterds." H-Net Reviews in the Humanities & Social Sciences, Oct2009, p1-3, 3p

Patterson, Rob.
"Inglourious Failure." Progressive Populist; 10/15/2009, Vol. 15 Issue 18, p21, 1/3p
UCB users only

Raphael, Frederic.
"Jew Suss in Reversuss." Commentary, October 2009; 128(3):64-66.
UCB users only

Rieder, John
"Race and Revenge Fantasies in Avatar, District 9 and Inglourious Basterds." Science Fiction Film and Television, vol. 4, no. 1, pp. 41-56, 2011 Spring
UC users only

Rennett, Michael.
"Inglourious basterds." Journal of Religion and Film, 13 no 2 O 2009

Simblist, Noah.
"The Nazi Fetish: Ritual Violence and the Power of Cinema in Inglourious Basterds." Art Papers, July/August 2010, Vol. 34 Issue 4, p20-25, 6p
UC users only

Taylor, Charles
"Violence as the Best Revenge: Fantasies of Dead Nazis." Dissent , Winter2010, Vol. 57 Issue 1, p103-106, 4p
UC users only

Walters, Ben
"Debating Inglourious Basterds." Film Quarterly; Winter2009/2010, Vol. 63 Issue 2, p19-22, 4p
UC users only

Jackie Brown

Ansen,David
"Jackie Brown." (movie review) Newsweek Dec 22, 1997 v130 n25 p86(1) (1696 words)

Bauer, Erik
"The mouth and the method."Sight & Sound Vol VIII nr 3 (Mar 1998); p 6-9
Quentin Tarantino on his reasons for using an adaptation of Elmore Leonard's novel 'Rum punch' to make "Jackie Brown", the influence of the novelist on his own writing style, characterisation and dialogue in the film.

Bauer, Erik
"The Mouth and the Method: Eric Bauer Talks with Quentin Tarantino about Jackie Brown." In: Film/literature/heritage / edited by Ginette Vincendeau. London : British Film Institute, 2001. Sight and sound reader.
Main Stack PN1995.3.F54 2001
PFA PN1995.3.F44 2001

Bowman, James.
"Jackie Brown." (movie review) The American Spectator Feb 1998 v31 n2 p77(1)

Bruzzi, Stella
"Jackie Brown."Sight & Sound Vol VIII nr 4 (Apr 1998); p 39-40

Giovannini, Joseph
"Tarantino's Los Angeles: roadside noir." (director Quentin Tarantino) (Living Arts Pages) The New York Times Dec 30, 1997 v147 pB1(N) col 3 (29 col in)

Giovannini, Joseph
"Through Los Angeles starkly, Tarantino style." (director Quentin Tarantino discusses his usage of South Bay neighborhood in his latest film, 'Jackie Brown') The New York Times Dec 28, 1997 v147 n362 s9 pST1(L) col 1 (32 col in)

Jones, Kent
"A critic's heart is an ocean of longing." Film Comment v. 34 (March/April 1998) p. 20-5
UC users only
"The writer discusses Titanic and Jackie Brown. James Cameron's Titanic is great because it succeeds in digital re-creation rather than cinema. Unlike other films that use digital technology to create something imaginary, Titanic uses these effects to re-create something real. Cameron's narrative in the film is up-to-the-minute hokum replete with the most ragged cliches of "period" TV shows, however. Quentin Tarantino's Jackie Brown, from the Elmore Leonard book, is a supremely limpid film about the enervation of having to make a living. Pam Grier plays the title character, a stewardess who knows that she has to scam, live honorably, and end up with a monthly Social Security check, or die at 44. Tarantino's flat light, soft color scheme, and patiently held camera are integral to the movie's heightened sense of workaday reality." [Art Index]

Kauffmann, Stanley
"Jackie Brown." (movie review) The New Republic Jan 26, 1998 v218 i4332 p24(1) (713 words)
UC users only

Keough, Peter (transcriber)
"Quentin Tarantino: Press Conference on Jackie Brown." In: Quentin Tarantino: interviews / edited by Gerald Peary. pp: 66-69. Jackson: University Press of Mississippi, c1998. Conversations with filmmakers series.Hagopian--Main Stack PN1998.3.T358.A5 1998

Lane, Anthony
"Jackie Brown." (movie review)The New Yorker Jan 12, 1998 v73 n42 p83(2)

Maslin, Janet
"Jackie Brown." (movie review) The New York Times Dec 24, 1997 v147 pB5(N) pE5(L) col 1 (16 col in)

McCarthy, Todd
"Jackie Brown." (movie review) Variety Dec 22, 1997 v369 n7 p57(2) (1426 words)

Miklitsch, R.
"Audiophilia: audiovisual pleasure and narrative cinema in Jackie Brown." Screen (London, England) v. 45 no. 4 (Winter 2004) p. 287-304

Travers, Peter.
"Jackie Brown." (movie review) Rolling Stone Jan 22, 1998 n778 p61(1)

Wager, Jans B.
"Jackie Brown (1997): Gender, Race, Class, and Genre." In: Dames in the driver's seat : rereading film noir / Jans B. Wager. Austin : University of Texas Press, 2005.
Full text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1995.9.F54 W34 2005 AVAILABLE
Moffitt PN1995.9.F54 W34 2005

Kill Bill

Alleva, Richard
"East meets west: 'Goodbye, Lenin!' & 'Kill Bill--Volume 2'." (Screen)(Movie Review) Commonweal May 7, 2004 v131 i9 p23(2) (1346 words)

David Ansen.
"The Importance of Killing Bill; In 'Vol. 2' of his garish, ultraviolent epic, Tarantino's back in form." (Movie Review) Newsweek April 19, 2004 p62 (464 words)
UC users only

Beale, Lewis.
"Kill Bill Vol. 1." (Movie Review) Film Journal International Nov 2003 v106 i11 p60(1) (528 words)
UC users only

Beale, Lewis.
"Kill Bill Vol. 2." (Movie Review) Film Journal International June 2004 v107 i6 p53(1) (658 words)
UC users only

Carson, Tom
"Painting with bloob: no, Quentin Tarantino's Kill Bill isn't the most violent movie ever mode. It's just the bloodiest love story." (Movie Review) Esquire Feb 2004 v141 i2 p26(2) (1275 words)
UC users only

Chang, A.
"Kill Bill: the Making of a Film Mythology." Art AsiaPacific no. 39 (Winter 2004) p. 94-5

Chattaway, Peter T.
"The revenger's tragedy." (Kill Bill, The Punisher, Man on Fire)(Critical Essay) Books & Culture July-August 2004 v10 i4 p22(1) (1653 words)
UC users only

Corliss, Richard
"And Now...Pulp Friction: Quentin Tarantino's Kill Bill has some critics out for blood. But the film is more than just a gore fest." (Arts/Movies)(Movie Review) Time Oct 20, 2003 v162 i16 p70 (757 words)
UC users only

Denby, David
"Dead Reckoning." (Mystic River)(Kill Bill - Vol. 1)(Movie Review) The New Yorker Oct 13, 2003 v79 i30 p112 (1591 words)
UC users only

Hedegaard, Erik
"A magnificent obsession." (Cover Story) Rolling Stone, April 29, 2004 i947 p40(11)
Quentin Tarantino, director of the movie 'Kill Bill' and Uma Thurman, the actress of the movie, discuss the aspects of their relationship with each other on the personal as well as professional front. Quentin states that he is obsessed with his 'Kill Bill' goddess, Uma Thurman but denies any romance between him and Thurman.

Hunt, Leon
"Asiaphilia, asianisation and the gatekeeper auteur : Quentin Tarantino and Luc Besson." In: East Asian cinemas : exploring transnational connections on film / edited by Leon Hunt and Leung Wing-Fai. London : New York : I.B. Tauris, 2008.
Main (Gardner) Stacks PN1993.5.E19 E27 2008

Jakes, Susan
"Blood Sport: Quentin Tarantino's Kill Bill Pays Homage To The Gory, Glory Days Of Asian Martial Arts Cinema." Time International Sept 16, 2002 v160 i10 p46+ (1814 words)
UC users only

Johnson, Brian D.
"Quentin's cutting edge: The provocative director indulges his passions to the hilt in Kill Bill: Vol.2." (Quentin Tarantino)(Movie Review) Maclean's April 26, 2004 p41(1)

Kauffmann, Stanley
"On Films - Dooms, Real and Fake." (Kill Bill: Vol.1) (Movie Review) The New Republic Nov 10, 2003 p24 (1174 words)
UC users only

Kermode, Mark
"Teenage kicks: Tarantino's follow-up is neither trashy nor truthful-just adolescent." (Film)(Kill Bill: Volume 2)(Movie Review) New Statesman (1996) April 26, 2004 v133 i4685 p46(1) (745 words)
UC users only

Kerr, Philip
"Director's cut: Philip Kerr wades through blood and tedium in the latest violent Tarantino offering." (Kill Bill)(Movie Review) New Statesman (1996) Oct 13, 2003 v132 i4659 p44(1) (805 words)
UC users only

Le Cain, Maximilian
"Tarantino and the Vengeful Ghosts of Cinema." Senses of Cinema vol. 32, pp. (no pagination), Summer 2004.
Article by Maximilian Le Cain on Quentin Tarantino and the 'Kill Bill' films.

McCarthy, Todd
"Asian-style fever dream." (Kill Bill Vol. 1)(Movie Review) Variety Sept 29, 2003 v392 i7 p56(2) (1822 words)
UC users only

Mendelsohn, Daniel
"It's only a movie." (Kill Bill - Volume 1)(Movie Review) The New York Review of Books Dec 18, 2003 v50 i20 p38(3)

"Movie violence out of control?" (Kill Bill vol. 1) United Press International Oct 22, 2003 pNA (1200 words)

Newman, Kim
"Kill Bill vol. 1." (review)Sight & Sound Vol XIII nr 12 (Dec 2003); p 39-40,42

Ng, Jenna
"Cinephilia, Homage, and Kill Bill." In: Cinephilia : Movies, Love and Memory /edited by Marijke de Valck and Malte Hagener.
Full-text of this book available online via ebrary [UC Berkeley users only]
Main Stack PN1994.C5325 2005

O'Brien, Geoffrey; Norris, Chris
"Battle royale: devotional furies./ Mixed blood."Film Comment Vol XXXIX nr 6 (Nov-Dec 2003); p 22-23,25-28
UC users only
"Quentin Tarantino's Kill Bill is a love poem, albeit the sort of love poem that makes a person wonder whether he or she wants to go out with the poet. There are scars everywhere, and there is so much blood spilled that it becomes ornamental, a floral motif on the envelope of the love letter. That love letter may have been written to Uma Thurman, the beaten, bleeding bride turned avenging swordswoman who dominates the movie in almost every frame. Tarantino's inclusion of humorous obscenities and pop-culture hipsterisms do little to mask the essentially solemn aura of this movie, but it is a solemnity that has the potential to show there is nothing at its core." [Art Index]

Olsen, Mark
"Turning on a dime."Sight & Sound Vol XIII nr 10 (Oct 2003); p 12-15
Interview with Quentin Tarantino who talks about making "Kill Bill" and the influence on moviemaking of his own interests as a viewer.

Rich, B. Ruby; Newman, Kim
"Day of the women." Sight & Sound Vol XIV nr 6 (June 2004); p 24-27,63-64
UC users only
An appreciation of "Kill Bill vol. 2, focusing on it as a female revenge fantasy, as well as, a remapping of traditional female values. Incl. a review.

Scott, A.O.
"Blood Bath & Beyond." (Movies, Performing Arts/Weekend Desk)(movie 'Kill Bill: Vol. 1')(Movie Review) The New York Times Oct 10, 2003 pE1 col 03 (32 col in)

Stephens, Chuck
"The whole she-bang." Film Comment Vol XL nr 4 (July-Aug 2004); p 44-47
UC users only

Steyn, Mark
"Comic-book spirit." (Cinema)(Kill Bill Vol. 2)(Movie Review) Spectator April 24, 2004 v294 i9168 p61(2) (827 words)

Travers, Peter
"The passion of the bride: The final chapter in Quentin Tarantino's rampaging revenge saga is a love story written in blood." (Movie Review) Rolling Stone April 29, 2004 i947 p84(1)

Wright, Evan
"Quentin's kung-fu grip." (moviemaker Quentin Tarantino)(Interview) Rolling Stone, Oct 30, 2003 i934 p42(4)
Moviemaker Quentin Tarantino talks about Kill Bill Vol 1, his first movie in six years.

Pulp Fiction

Alleva, Richard.
"Pulp Fiction." (movie reviews) Commonweal v121, n20 (Nov 18, 1994):30 (2 pages).

Ansen, David.
"Pulp Fiction." (movie reviews) Newsweek v124, n15 (Oct 10, 1994):71 (1 page).

Baker, Peter.
"Deconstruction and the Question of Violence: Fictions Legitimes Versus Pulp Fiction." Symploke: aJournal for the Intermingling of Literary, Cultural & Theoretical Scholarship. 4(1-2):21-40. 1996.

Berg, Charles Ramírez.
"A Taxonomy of Alternative Plots in Recent Films: Classifying the "Tarantino Effect." Film Criticism, Fall/Winter2006, Vol. 31 Issue 1/2, p5-61, 57p
UC users only

Bertelsen, Eve.
"`Serious gourmet shit': Quentin arantino's Pulp Fiction." Journal of Literary Studies/Tydskrif vir Literatuurswetenskap(Univ. of South Africa, Pretoria) (15:1/2) 1999, 8-32. (1999)

Bidwell, Duane R.
""Let's Get Into Character": A Narrative/Constructionist Psychology of Conversion in Quentin Tarantino's Pulp Fiction." Pastoral Psychology, May2001, Vol. 49 Issue 5, p327-340, 14p
UC users only
"This paper engages the psychology of conversion through the 1994 prizewinning film Pulp Fiction, which features a "divine intervention" that sparks the conversion of a Los Angeles hit man. Given that film reveals the popular state of mind, this portrayal in Pulp Fiction suggests that a new form of conversion may be evolving in popular culture: a postmodern, narrative/constructionist account of conversion that could be a significant shift from previous psychological interpretations of the phenomenon." [ABSTRACT FROM AUTHOR]

Binyon, T.J.
"Pulp Fiction." (movie reviews) TLS. Times Literary Supplement, n4780 (Nov 11, 1994):26 (1 page).

Blake, Richard A.
"Pulp Fiction." (movie reviews) America v171, n15 (Nov 12, 1994):22 (2 pages).
UC users only

Burroughs, Jason.
"Is There a Moral to This Story? The Moral Stance of Oliver Stone and Quentin Tarantino in Natural Born Killers and Pulp Fiction." In: Society for the Interdisciplinary Study of Social Imagery. Conference (5th: 1995: Colorado Springs, Co.) The image of violence in literature, the media, and society; selected papers [from the] 1995 conference [of the] Society ... pp: 174-77. Pueblo, Co.: The Society, 1995.
Main Stack P96.V5.S66 1995

Chumo, Peter N., II.
"'The Next Best Thing to a Time Machine': Quentin Tarantino's Pulp Fiction." Post Script:Essays in Film & the Humanities. 15(3):16-28. 1996 Summer.
Analyses the structure of "Pulp fiction", esp. regarding chronology, time, and references to other films and themes.

Corliss, Richard.
"Pulp Fiction." (movie reviews) Time v144, n15 (Oct 10, 1994):76 (3 pages).
UC users only

Crisp, Quentin.
"Pulp Fiction." (movie reviews) Christopher Street, n221 (Jan, 1995):4 (2 pages).

Dargis, Manohla.
"Pulp instincts / Quentin Tarantino on Pulp fiction." Sight & Sound Vol IV nr 5 (May 1994); p 6-11
Describes the qualities that define a pulp film, and the crop of new films that belong to this genre, esp. "Pulp fiction"; plus comments from the director Q.T. on his aims in making that film, plus a brief script extract.

Dargis, Manohla.
"Quentin Tarantino on Pulp Fiction." In: Quentin Tarantino: interviews / edited by Gerald Peary. pp: 66-69. Jackson: University Press of Mississippi, c1998. Conversations with filmmakers series.Hagopian--Main Stack PN1998.3.T358.A5 1998

Dargis, Manohla
"Quentin Tarantino on 'Pulp Fiction.'" Sight and Sound v4, n11 (Nov, 1994):16 (4 pages).
Quentin Tarantino, director of 'Pulp Fiction,' likes doing genre movies in new variations and says that 'Pulp Fiction' was shot mostly in Los Angeles restaurants as they are ideal for long conversations. Protagonists Vincent and Jules wore black suits as it made them more business-like while Sam Jackson wore an Afrowig to create the right African-American image. Tarantino says that the drug overdose scene was both tough and funny at the same time.

Davis, Todd F.; Womack, Kenneth.
"Shepherding the weak: the ethics of redemption in Quentin Tarantino's Pulp Fiction." Literature/Film Quarterly (26:1) 1998:1, 60-6. (1998)
UCB users only
" Quentin Tarantino's "Pulp Fiction" has been criticized for being a morally vacuous film devoid of any meaning. Yet critics neglect the metamorphosis of the character Jules Winnfield, who is established as the moral center of the film. Within his dark gangland world of drugs, violence, greed and chance, Winnfield at the end of the film pledges the promise of redemption." [Expanded Academic Index]

DeGenaro, William.
"Post-Nostalgia in the Films of Quentin Tarantino and Robert Rodriguez." Journal of AmericanStudies of Turkey. 6:57-63. 1997

Denby, David.
"Pulp Fiction." (movie reviews) New York v27, n39 (Oct 3, 1994):96 (3 pages).

Dinshaw, Carolyn.
"Getting Medieval: Pulp Fiction, Gawain, Foucault." In: The book and the body / edited by Dolores Warwick Frese, Katherine O'Brien O'Keeffe. pp: 116-63. Notre Dame, Ind.: University of Notre Dame Press, c1997. Ward-Phillips lectures in English language and literature; 14.
Main Stack PR275.T45.B66 1997

Dowell, Pat; Fried, John.
"Two shots at Quentin Tarantino's 'Pulp Fiction.'" Cineaste v21, n3 (Summer, 1995):4 (4 pages).
Two theoretical analyses of the film.

Epstein, Rebecca L.
"Appetite for destruction: ganster food and genre convention to Quentin Tarantino's Pulp fiction." In: Reel food : essays on food and film / edited by Anne L. Bower. New York : Routledge, 2004.
Main Stack PN1995.9.F65.R44 2004

Fulton, Valerie.
"The Meaning of Violence in Quentin Tarantino's Pulp Fiction: Annotated Version." In: Society for the Interdisciplinary Study of Social Imagery. Conference (5th: 1995: Colorado Springs, Co.) The image of violence in literature, the media, and society; selected papers [from the] 1995 conference [of the] Society ... pp: 178-82. Pueblo, Co.: The Society, 1995.
Main Stack P96.V5.S66 1995

Garner, Ken.
"'Would You Like to Hear Some Music?' Music In-And-Out-Of-Control in the Films of Quentin Tarantino." In: Film music: critical approaches / edited by K.J. Donnelly.pp.188-205. New York: Continuum, 2001.
Music ML2075.F453 2001

Gormley, Paul.
"The Affective City: Urban Black Bodies and Milieu in Menace II Society and Pulp Fiction." In: Screening the city / edited by Mark Shiel and Tony Fitzmaurice. London ; New York : Verso, 2003.
Environ Dsgn PN1995.9.C513.S37 2003
Main Stack PN1995.9.C513.S37 2003

Gormley, Paul.
"Trashing Whiteness: pulp fiction, se7en, strange days, and articulating affect. Journal of the Theoretical Humanities, Apr2001, Vol. 6 Issue 1, p155-171, 17p;
UC users only

Gormley, Paul
"Trashing Whiteness: Pulp Fiction, Se7en, Strange Days and Articulating Affect." In: New-Brutality Film : Race and Affect in Contemporary American Film
Full-text of this book available online via ebrary [UC Berkeley users only]
Main Stack PN1995.9.V5.G67 2005
PFA : PN1995.9.V5 G67 2005

Giroux, Henry A.
"Pulp Fiction and the culture of violence." (violence in movies) Harvard Educational Review v65, n2 (Summer, 1995):299 (16 pages).

Hibbs, Thomas S.
"Normal nihilism as comic : Seinfeld, Trainspotting, and Pulp fiction." In: Shows about nothing : nihilism in popular culture / Thomas S. Hibbs. Waco, Tex. : Baylor University Press, c2012.
Main (Gardner) Stacks New books PN1995.9.N55 H53 2012

Hirschberg, Lynn.
"The man who changed everything." (Quentin Tarantino, creator of 'Pulp Fiction' and the new 'Jackie Brown')(The Two Hollywoods: A Special Issue)(Cover Story)(Interview) New York Times Magazine (Sun, Nov 16, 1997):112, col 1, 73 col in.

Irwin, Mark
"Pulp and the Pulpit: The Films of Quentin Tarantino and Robert Rodriguez." Literature & Theology: An International Journal of Theory, Criticism and Culture vol. 12 no. 1 pp: 70-81 (1998 Mar)

Jewers, Caroline.
"Heroes and Heroin: From True Romance to Pulp Fiction." Journal of Popular Culture. 33(4):39-61.2000 Spring.
UC users only

Johnson, Brian D.
"Pulp Fiction." (movie reviews) Maclean's v107, n43 (Oct 24, 1994):57 (2 pages).

Kauffmann, Stanley.
"Pulp Fiction." (movie reviews) New Republic v211, n20 (Nov 14, 1994):26 (2 pages).
UC users only

Kerr, Sarah.
"Pulp Fiction." (movie reviews) New York Review of Books v42, n6 (April 6, 1995):22 (2 pages).

Kimball, A. Samuel.
""Bad-ass dudes" in 'Pulp Fiction': homophobia and the counterphobic idealization of women." Quarterly Review of Film and Video v16, n2 (Sept, 1997):171 (22 pages).
"Heterosexual anxiety and the idealization of 'the wife' are seen as central components of "Pulp fiction"; focuses on the near-constant scatalogical references in the film's dialogue and the fractured nature of the narrative itself as evidence of this." [FIAF]

Klawans, Stuart.
"Pulp Fiction." (movie reviews) Nation v259, n12 (Oct 17, 1994):434 (1 page).

Klawans, Stuart.
"Pulp Fiction." (movie reviews) ARTnews v93, n8 (Oct, 1994):434 (1 page).

Lane, Anthony.
"Pulp Fiction." (movie reviews) New Yorker v70, n32 (Oct 10, 1994):95 (3 pages).

Lazere, Donald.
"Pulp Fiction as degenerate modernism." Tikkun v10, n2 (March-April, 1995):31 (2 pages).

Leitch, Thomas M.; Lavery, David
"Know-nothing entertainment: what to say to your friends on the Right, and why it won't do any good."Literature/Film Quarterly; Vol.XXV nr.1 (Jan 1997); p.7-22
UC users only
"Recalling the rivalry between "Forrest Gump" and "Pulp fiction" at the 1995 Oscar ceremony, attempts a description of the films' similarities and differences and remarks on the equivalent competitiveness between "Going my way" and "Double indemnity" in 1944; plus details of significant changes made to Winston Groom's novel 'Forrest Gump' for the screen adaptation." [FIAF]

Leland, John.
"Would a hipster hit a lady? Pulp fiction, film noir and gangsta rap." In: Hip, the history 1st ed. New York : Ecco, c2004.
Main Stack E169.1.L527 2004
Moffitt E169.1.L527 2004

Lipman, Amanda
"Pulp Fiction." (synopsis and review_Sight & Sound; Vol.IV nr.11 (Nov 1994); p.50-51

Maslin, Janet.
"Pulp Fiction." (movie reviews) New York Times v144 (Fri, Sept 23, 1994):B1(N), C1(L), col 1, 33 col in.

O'Brien, Geoffrey
"Quentin Tarantino's pulp fantastic." In: Castaways of the image planet : movies, show business, public spectacle. p. 89-92 Washington, D.C. : Counterpoint, c2002.
MAIN: PN1994 .O25 2002

Ogreron, Devin Anthony.
"Scatological Film Practice: Pulp Fiction and a Cinema in Movements." Post Script: Essays in Film & the Humanities. 19(3):29-40. 2000 Summer.
UC users only
Examines the scatological obsessions in Tarantino's "Pulp fiction" and the links to the postmodern world.

Pawelczak, Andy.
"Pulp Fiction." (movie reviews) Films in Review v46, n1-2 (Jan-Feb, 1995):56 (2 pages).

Peake, Glenn.
"Icons, Iconoclasts, and Ideology: The Strange Case of Quentin Tarantino." University of DaytonReview. 24(1):55-61. 1996 Fall.

Platten, David.
"Private Spectacle, Public Voice: Two Sides to Contemporary Cinema in France and the USA." In: Making connections: essays in French culture and society in honour of Philip Thody / edited by James Dolamore. pp: 255-69. Bern; New York: Peter Lang, c1999.
Main Stack DC33.7.M25 1999

"Pulp the hype: on the Q.T." (five critical reviews of work of Quentin Tarantino)
Artforum International v. 33 (March 1995) p. 62-7+
"Director Quentin Tarantino films 'Reservoir Dogs' and 'Pulp Fiction' have won several international awards and have been hailed as romantic depictions of violent reality. Tarantino has also become a highly visible celebrity due to his appearances in major talk shows where he has expressed his simplistic notions of film-making that are actually based on a very critical view of US society. His works have been likened to those of Martin Scorcese." Authors: Gary Indiana; Bell Hooks; Jeanne Silverthorne; Dennis Cooper; Robin Wood. [Expanded Academic Index]

Reinhartz, Adele
"Pulp fiction and the power of belief (John)." In: Scripture on the silver screen 1st ed. Louisville, Ky. : Westminster John Knox Press, c2003.
Main Stack PN1995.5.R45 2003

Ritter, Kelly.
"Postmodern dialogics in Pulp fiction: Jules, Ezekiel, and double-voiced discourse." In: The terministic screen : rhetorical perspectives on film / edited by David Blakesley. Carbondale : Southern Illinois University Press, c2003.
Main Stack PN1994.T47 2003

Romney, Jonathan.
"Pulp Fiction."(movie reviews) New Statesman & Society v7, n326 (Oct 28, 1994):29 (1 page).
UC users only

Rosenbaum, Jonathan
"Allusion profusion (Ed Wood, Pulp fiction)." In: SOURCE: In: Movies as politics p. 171-78. Berkeley : University of California Press, c1997
Electronic Location(s): http://ark.cdlib.org/ark:/13030/ft6r29p15c/ Restricted to UC campuses
MAIN: PN1995.9.P6 R67 1997
MOFF: PN1995.9.P6 R67 1997;

Salamon, Julie.
"Pulp Fiction."(movie reviews) Wall Street Journal (Thu, Oct , 1994):A16(W), A16(E), col 1, 18 col in.

Sammells, Neil.
"Pulp Fictions: Oscar Wilde and Quentin Tarantino." Irish Studies Review. 11:39-46. 1995 Summer.

Schmidt, Paul H..
"Charming Pigs and Mimetic Desire in Quentin Tarantino's Pulp Fiction." University of DaytonReview. 24(1):43-53. 1996 Fall.

Silberstein, Michael
"Grace, fate, and accident in Pulp fiction." In: Movies and the meaning of life : philosophers take on Hollywood / [edited by] Kimberly A. Blessing and Paul J. Tudico. Chicago : Open Court, c2005.

Simon, John.
"Pulp Fiction." (movie reviews) National Review v46, n22 (Nov 21, 1994):70 (2 pages).
UC users only

Smith, Gavin
"When you know you're in good hands. Quentin Tarantino." Film Comment; Vol.XXX nr.4 (July-Aug 1994); p.32-36,38,40-43
UC users only
Director Tarantino discusses various creative aspects of "Reservoir dogs" and "Pulp fiction" in terms of his attitudes toward genre and storytelling.

Tarantino, Quentin .
"Quentin Tarantino on 'Pulp Fiction.'" (pulp movies as described by Quentin Tarantino)(includes script extract of new movie, 'Pulp Fiction') Sight and Sound v4, n5 (May, 1994):10 (2 pages).
Quentin Tarantino describes his concept of pulp fiction as something different from the normal crime stories and he describes his style as one close to modern-day crime fiction where the characters become larger than life. Tarantino believes that a combination of several stars in his pulp movies will ensure their success.

Terkla, Dan. Reed, Thomas L., Jr..
"'I'm Gonna Git Medieval on Your Ass': Pulp Fiction for the 90s-the 1190s." Studiesin Popular Culture. 20(1):39-52. 1997 October. Murfreesboro, TN

Villella, Fiona A.
"Circular Narratives: Highlights of Popular Cinema in the '90s." Senses of Cinema
UC users only

Willis, Sharon.
"The Fathers Watch the Boy's Room." Camera Obscura. 32:40-73. 1995 June.
Analyses the major concerns of Tarantino's films notably "Pulp fiction", focusing on his obsession with race, violence and the father figure.

Willis, Sharon.
"'Style,' Posture, and Idiom: Tarantino's Figures of Masculinity." In: Reinventing film studies / edited by Christine Gledhill and Linda Williams. pp: 279-95. London: Arnold; New York: Co-published in the United States of America by Oxford University Press, 2000.
Grad Svcs PN1995.R455 2000 Non-circulating; may be used only in Graduate Services.
Main Stack PN1995.R455 2000

Young, Toby
"All bark and no bite." Modern Review Vol I nr 17 (Oct-Nov 1994); p 13

Reservoir Dogs

Ansen, David.
"Reservoir Dogs." (movie reviews) Newsweek v120, n17 (Oct 26, 1992):66 (1 page).

Behar, Henri (master of ceremonies).
"Reservoir Dogs Press Conference." In: Quentin Tarantino : interviews / edited by Gerald Peary. Jackson : University Press of Mississippi, c1998. Conversations with filmmakers series.
Main Stack PN1998.3.T358.A5 1998

Beltzer, Thomas.
"Dogs in Hell: No Exit Revisited."Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 6: (no pagination). 2000 May.

Botting, Fred. Wilson, Scott.
"By Accident: The Tarantinian Ethics."Theory, Culture & Society. 15 (2): 89-113. 1998 May.

Breen, Marcus.
"Woof, Woof: The Real Bite in Reservoir Dogs." UTS Review: Cultural Studies and New Writing. 2 (2): 1-9. 1996 Nov

Brintnall, Kent; L. Cross.
"Tarantino's Incarnational Theology: "Reservoir Dogs," Crucifixions and Spectacular Violence." Currents, Spring2004, Vol. 54 Issue 1, p66-75, 10p;
UC users only

Canby, Vincent.
"Reservoir Dogs." (movie reviews) New York Times v142 (Fri, Oct 23, 1992):B6(N), C14(L), col 3, 17 col in.

Corliss, Richard.
"Reservoir Dogs." (movie reviews) Time v140, n20 (Nov 16, 1992):95 (3 pages).

Crisp, Quentin.
"Reservoir Dogs." (movie reviews) Christopher Street, n195 (Jan 4, 1993):12 (2 pages).

Dargis, Manohla.
"Reservoir Dogs." (movie reviews) Artforum v31, n3 (Nov, 1992):11 (1 page).

DeGenaro, William.
"Nostalgia in the Films of Quentin Tarantino and Robert Rodriguez." Journal of American Studies of Turkey. 6: 57-63. 1997 Fall

de Vries, Hilary.
"A director's first blood." (Quentin Tarantino writes "True Romance," directs "Reservoir Dogs") Washington Post v116 (Thu, Sept 9, 1993):D1, col 1, 52 col in.

Garner, Ken.
"'Would You Like to Hear Some Music?' Music In-And-Out-Of-Control in the Films of Quentin Tarantino." In: Film music : critical approaches / edited by K.J. Donnelly. pp: 188-205 New York : Continuum, 2001.
Music ML2075.F453 2001

Gormley, Paul.
"Miming Blackness: Reservoir Dogs and 'American Africanism'" In: The new-brutality film : race and affect in contemporary Hollywood cinema / Paul Gormley. Bristol, UK ; Portland, OR, USA : Intellect, 2005.
Full-text available online (UCB users only)
Main (Gardner) Stacks PN1995.9.V5 G67 2005

Grønstad, Asbjørn.
"As I Lay Dying Violence and Subjectivity in Tarantino's Reservoir Dogs." In: Transfigurations: violence, death and masculinity in American cinema Amsterdam : Amsterdam University Press, 2008.
Full text available online [UCB users only]

Hilferty, Robert.
"Reservoir Dogs." (movie reviews) Cineaste v19, n4 (Fall, 1992):79 (3 pages)

Hill, Annette.
Shocking entertainment : viewer response to violent movies Luton, Bedfordshire, UK : University of Luton Press, c1997.
Includes a discussion of Reservoir Dogs

"It's cool to be banned." (Quentin Tarantino's 'Reservoir Dogs') Index on Censorship Nov-Dec 1995 v24 n6 p56(3)
"Quentin Tarantino's 'Reservoir Dogs' is a successful small film and includes a high degree of violence. Tarantino says that releasing a movie on video is the easiest way to extinguish public interest. He has benefited by not releasing his movie on video in Britain as it has had a successful re-release." [Expanded Academic Index]

Jardine, Dan
"The Killing Fields (on Resevoir Dogs)." Film Journal, vol. 1, no. 10, pp. [no pagination], Fall 2004

Jewers, Caroline.
"Heroes and Heroin: From True Romance to Pulp Fiction." Journal of Popular Culture. 33 (4): 39-61. 2000 Spring.

Kauffmann, Stanley.
"Reservoir Dogs." (movie reviews)New Republic v207, n22 (Nov 23, 1992):30 (2 pages).
UC users only

Lyons, Donald.
Independent visions : a critical introduction to recent independent American film New York : Ballantine Books, c1994.
MOFF: PN1998.2 .L96 1994
PFA : PN1998.2 .L96 1994 ;
Includes discussion of Reservoir Dogs

Lyons, Donald.
"Reservoir Dogs." (movie reviews)Film Comment v28, n6 (Nov-Dec, 1992):8 (1 page).
UC users only

Lyons, Donald.
"Scumbags." Film Comment Vol XXVIII nr 6 (Nov-Dec 1992); p 6,8
Assesses Harvey Keitel's roles in two recent controversial features: "Reservoir dogs" and "Bad lieutenant".

McCarthy, Todd.
"Reservoir Dogs." (movie reviews) Variety v346, n2 (Jan 27, 1992):52 (1 page).

Newman, Kim.
"Reservoir Dogs." (movie reviews) Sight and Sound v3, n1 (Jan, 1993):51 (2 pages).

Rafferty, Terrence.
"Reservoir Dogs." (movie reviews) New Yorker v68, n35 (Oct 19, 1992):105 (2 pages).

Rittger, Guy C.
"The Regime of the Exploding Body and the Erotics of Film Violence: Penn, Peckinpah, Tarantino, and Beyond." In: Society for the Interdisciplinary Study of Social Imagery. Conference (5th : 1995 : Colorado Springs, Co.) The image of violence in literature, the media, and society ; selected papers [from the] 1995 conference [of the] Society for the Interdisciplinary Study of Social Imagery / edited by Will Wright and Steven Kaplan. pp: 357-62 Pueblo, Co. : The Society, 1995.
Main Stack P96.V5.S66 1995
Main Stack P96.V5.S66 1995

Romney, Jonathan.
"Reservoir Dogs." (movie reviews)New Statesman & Society v6, n234 (Jan 8, 1993):34 (2 pages).
UC users only

Savage King, Chris
"Goodfellas lite." Modern Review Vol I nr 7 (Feb-Mar 1993); p 32-33

Smith, Gavin
"When you know you're in good hands. Quentin Tarantino." Film Comment; Vol.XXX nr.4 (July-Aug 1994); p.32-36,38,40-43
Director Tarantino discusses various creative aspects of "Reservoir dogs" and "Pulp fiction" in terms of his attitudes toward genre and storytelling.

Tarantino, Quentin.
"It's cool to be banned." (Quentin Tarantino's 'Reservoir Dogs') Index on Censorship v24, n6 (Nov-Dec, 1995):56 (3 pages).
Quentin Tarantino's 'Reservoir Dogs' is a successful small film andincludes a high degree of violence. Tarantino says that releasing a movieon video is the easiest way to extinguish public interest. He has benefitedby not releasing his movie on video in Britain as it has had a successfulre-release.

Taubin, Amy.
"The men's room." ('Reservoir Dogs' as part of a new wave of violent male-bonding films)(includes related article) (Cover Story) Sight and Sound v2, n8 (Dec, 1992):2 (3 pages).
The film 'Reservoir Dogs' by director Quentin Tarantino expresses the violent Moffittrclass masculinity and paranoid abhorrence of other ethnic groups, attitudes that were repressed in 1970s television series such as'Baretta.' The virtually all-male white casting suggests that the white under class has an exclusive access to violence as the only recourse allowing it to assert superiority over non-whites - including women and homosexuals of any color. At the same time, the film's extended graphic scenes of torture try to expose the sado-masochistic bond between film and viewer.

Taylor, Ella.
"Quentin Tarantino's Reservoir Dogs and the Thrill of Excess." In: Quentin Tarantino : interviews / edited by Gerald Peary. pp: 41-48 Jackson : University Press of Mississippi, c1998. Conversations with filmmakers series.
Main Stack PN1998.3.T358.A5 1998

Telotte, J. P.
"Fatal capers: strategy and enigma in film noir." Journal of Popular Film and Television v. 23 (Winter '96) p. 163-70.
A discussion of the "caper film" in both its earlier and more recent variations. The caper narrative, with its stressing of the elaborate plotting of criminal activity by characters working on the fringe of society, includes some of the more important examples of classical film noir. The main attraction of the caper film probably lies in the way it details a complex strategy that invariably turns fatal, an ironic reversal of plotting that indicates that a higher "law" might determine human destiny or, more unsettlingly, that there might be no law at all. Various caper films are discussed, including Quentin Tarantino's Reservoir Dogs.

Willis, Sharon
"Borrowed "style": Quentin Tarantino's figures of masculinity." In: High contrast : race and gender in contemporary Hollywood film p. 189-216. Durham, N.C. : Duke University Press, 1997.
MAIN: PN1995.9.S47 W56 1997
ETHN: PN1995.9.S47 W56 1997; Housed at Ethnic Studies
PFA : PN1995.9.S47 W56 1997;




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