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Popular Culture and Philosophy #29
کوئنتین تارانتینو و فلسفه
فیلمهای تارانتینو دارای تأمّلات فلسفیاند و پرسشهایی درباره عدالت و اخلاق، خشونت و پرخاشگری، چیستی علّیت و جریان سیّال زمان پیش میکشند. در کتاب «کوئنتین تارانتینو و فلسفه»، نویسندگان هیچ موضوعی را تابو فرض نکردهاند؛ از تأمّلاتی زیباییشناسانه درباره استفاده از خونپاشی در «بیل را بکش» گرفته تا معمّاهای زبانی در بحث وینسنت و جولز درباره بیگمکهای فرانسوی در «داستان عامّهپسند». آیا عروس در «بیل را بکش»، با اینکه انگیزهای جز انتقامگیری ندارد، یک قهرمان محسوب میشود؟ وقتی تارانتینو بین زمانهای حال و گذشته و آینده پرش میکند، چگونه موفّق به خلق داستانی منجسم میشود؟
نویسندگان «کوئنتین تارانتینو و فلسفه» در اثر خود، به چنین مسائل و بسیاری موضوعات دیگر پرداختهاند.
نویسندگان «کوئنتین تارانتینو و فلسفه» در اثر خود، به چنین مسائل و بسیاری موضوعات دیگر پرداختهاند.
264 pages, Paperback
First published October 1, 2007
21 people are currently reading
507 people want to read
About the author
Richard V. Greene
7 books7 followersRichard V. Greene is a Professor of Philosophy at Weber State University. He is involved with research in metaphysics, the history of modern philosophy, medical ethics, and philosophical topics related to pop culture. He is also the Executive Director of the Society for Skeptical Studies, a philosophical society formed to promote discussion and research on topics related to skepticism.
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Displaying 1 - 18 of 18 reviews
March 2, 2025
I enjoy luxuriating in navel-gazing indulgence and over-analyzing entertainment as much as the next pseudo-intellectual lit bro armchair philosopher, but it’s far too easy to reach too far.
The pop culture and philosophy series had about a twenty year run, mining popular sports, music and television shows for engagement with philosophical thought, usually tying them to a particular philosopher’s ideas. Everything from Game of Thrones to Spongebob Squarepants to…Amy Schumer? (Yikes) was subjected to this exploration.
Tarantino is not the modern day Nietzsche, but it’s all good fun in a slightly-obnoxious-friend-pinning-you-with-his-film-theories-at-a-party kind of way.
The pop culture and philosophy series had about a twenty year run, mining popular sports, music and television shows for engagement with philosophical thought, usually tying them to a particular philosopher’s ideas. Everything from Game of Thrones to Spongebob Squarepants to…Amy Schumer? (Yikes) was subjected to this exploration.
Tarantino is not the modern day Nietzsche, but it’s all good fun in a slightly-obnoxious-friend-pinning-you-with-his-film-theories-at-a-party kind of way.
January 31, 2011
This being my second foray into the Pop Culture and Philosophy series, I was mesmerized by the simple and eloquent way these scholars are able to present what I used to think was beyond my realm of understanding. These books about films or videogames or sensations that we are bombarded with everyday in colloquial discussion or unrelenting marketing are the perfect source for figuring out what philosophy you are interested in and what primary texts you think you have the salt to tackle. Tarantino’s work, that of an American tragedian and dark humor master, lends itself to philosophers like Nietzsche and Baudrillard, Heidegger and Moses, themes of retribution vs. revenge, the morality of mass slaughter, the impossibility of miracles, the ex-convict’s dilemma and the refusal to see the world as a whole while disposed on the commode. The essays contained within do proper justice to Tarantino’s movies while not accusing him wholeheartedly of any singular raison d’etre (except for one instance of Pulp Fiction being a scathing criticism of French cinema).
In tribute to the succinct nature of the articles herein and my hatred of New Yorker length reviews on this website, I will highlight only a few of my favorite pieces which will hopefully go far to encourage you to devour this book as whole. While I say “as a whole”, I will admit that I did not read the book in order but since it is a collection, I jumped around depending on the mood I was in and what I thought the article might be about according to the title. I don’t believe this is necessary but it’s nice to be able to do so in a book without getting ahead of yourself.
Bence Nanay and Ian Schee “Travolta’s Elvis Man and the Nietzschean Superman” was a superb article primarily for the admission that most casual commentaries involving Nietzsche like to remember him as the proclaimer that “God is dead.” This article points out just as casually that in The Gay Science, Nietzsche does not even utter this phrase but has a madman speaking, “not in the face of churchgoers, but modern seemingly sophisticated believers.” As pertains to Tarantino, this article focuses on Jules Winfield as his role as the Nietzschean Superman, not afraid of change in his life’s pursuits or in allowing himself to be excited by the prospect of not being in control in this world. The article mentions various works of Nietzsche and does a great job at welcoming in minds open to existentialism but unsure of the overwhelming results of Nietzschean philosophy. In a way this article turns the reader from a Vincent Vega Elvis Man, too cool for all that deep shit into a Jules Winfield Nietzschean Superman holding the pearl of consciousness in the palm of his hand.
In terms of the films represented, Kill Bill and Reservoir Dogs hold the title with four each devoted to them with Pulp Fiction at three and Death Proof and Jackie Brown at one each. This collection was published before Inglorious Basterds which is alright as I’m sure the extent of French and German literary criticism and philosophy that can be drawn from that film would fill a tome on its own. Jackie Brown is widely regarded as the “least favorite” Tarantino film and I will not speak to that superlative but will say that the philosophy of verbal manipulation through the work of Samuel L. Jackson’s character Ordell Robbie and what he knows other characters think he knows is one I will reread both to eliminate confusion and also to be able to be one step ahead of other gangsters. Aaron C. Anderson also gives an intriguing side to Death Proof through the work of Jean Baudrillard examining America’s comfortablity with Hollywood’s hyper-realistic landscape.
I would to end this by citing Timothy Dean Roth’s (no relation to the Timothy Roth of Reservoir Dogs and Pulp Fiction fame) essay, “A Sword of Righteousness: Kill Bill and the Ethics of Vengeance” for the beautiful revelation that, “Revenge is itself an implication and extension of the golden rule. It’s something we all intuitively understand, which is why we find revenge stories so engaging.”
If you find Tarantino to be the Aristotle of this present world, check out this book and freak out your friends by being able to point out that everything bad that happens in Vincent Vega’s storyline in Pulp Fiction happens when he’s on the toilet. Boom.
In tribute to the succinct nature of the articles herein and my hatred of New Yorker length reviews on this website, I will highlight only a few of my favorite pieces which will hopefully go far to encourage you to devour this book as whole. While I say “as a whole”, I will admit that I did not read the book in order but since it is a collection, I jumped around depending on the mood I was in and what I thought the article might be about according to the title. I don’t believe this is necessary but it’s nice to be able to do so in a book without getting ahead of yourself.
Bence Nanay and Ian Schee “Travolta’s Elvis Man and the Nietzschean Superman” was a superb article primarily for the admission that most casual commentaries involving Nietzsche like to remember him as the proclaimer that “God is dead.” This article points out just as casually that in The Gay Science, Nietzsche does not even utter this phrase but has a madman speaking, “not in the face of churchgoers, but modern seemingly sophisticated believers.” As pertains to Tarantino, this article focuses on Jules Winfield as his role as the Nietzschean Superman, not afraid of change in his life’s pursuits or in allowing himself to be excited by the prospect of not being in control in this world. The article mentions various works of Nietzsche and does a great job at welcoming in minds open to existentialism but unsure of the overwhelming results of Nietzschean philosophy. In a way this article turns the reader from a Vincent Vega Elvis Man, too cool for all that deep shit into a Jules Winfield Nietzschean Superman holding the pearl of consciousness in the palm of his hand.
In terms of the films represented, Kill Bill and Reservoir Dogs hold the title with four each devoted to them with Pulp Fiction at three and Death Proof and Jackie Brown at one each. This collection was published before Inglorious Basterds which is alright as I’m sure the extent of French and German literary criticism and philosophy that can be drawn from that film would fill a tome on its own. Jackie Brown is widely regarded as the “least favorite” Tarantino film and I will not speak to that superlative but will say that the philosophy of verbal manipulation through the work of Samuel L. Jackson’s character Ordell Robbie and what he knows other characters think he knows is one I will reread both to eliminate confusion and also to be able to be one step ahead of other gangsters. Aaron C. Anderson also gives an intriguing side to Death Proof through the work of Jean Baudrillard examining America’s comfortablity with Hollywood’s hyper-realistic landscape.
I would to end this by citing Timothy Dean Roth’s (no relation to the Timothy Roth of Reservoir Dogs and Pulp Fiction fame) essay, “A Sword of Righteousness: Kill Bill and the Ethics of Vengeance” for the beautiful revelation that, “Revenge is itself an implication and extension of the golden rule. It’s something we all intuitively understand, which is why we find revenge stories so engaging.”
If you find Tarantino to be the Aristotle of this present world, check out this book and freak out your friends by being able to point out that everything bad that happens in Vincent Vega’s storyline in Pulp Fiction happens when he’s on the toilet. Boom.
July 18, 2019
Sia chiaro, stiamo parlando di un libro divulgativo con nessuna velleità di insegnare la filosofia.
Eppure questa raccolta di saggi è riuscita, in alcuni passaggi, a farmi riprendere in mano i miei libri di scuola e i testi universitari per approfondire alcuni passaggi del pensiero dei celebri filosofi che vengono citati per spiegare la visione cinematografica di Tarantino.
Ovviamente bisogna essere conoscitori appassionati della filmografia del regista di Pulp Fiction, Le iene e Kill Bill (questi i film presi in maggior considerazione) per poter apprezzare il volume, ma è un ottimo esempio di come si possano intersecare con profitto due o più ambiti culturali e sollevare curiosità e desiderio di conoscenza.
Mi permetto di condividere un voi un appunto di natura accademica: l'arte e la cultura sono gli unici "beni" intesi in senso economico ad avere utilità marginale crescente. Si possono mangiare un numero limitato di alimenti prima che lo stimolo della fame venga placato, ma la fame di sapere, di approfondire, di creare connessioni è potenzialmente illimitato.
Eppure questa raccolta di saggi è riuscita, in alcuni passaggi, a farmi riprendere in mano i miei libri di scuola e i testi universitari per approfondire alcuni passaggi del pensiero dei celebri filosofi che vengono citati per spiegare la visione cinematografica di Tarantino.
Ovviamente bisogna essere conoscitori appassionati della filmografia del regista di Pulp Fiction, Le iene e Kill Bill (questi i film presi in maggior considerazione) per poter apprezzare il volume, ma è un ottimo esempio di come si possano intersecare con profitto due o più ambiti culturali e sollevare curiosità e desiderio di conoscenza.
Mi permetto di condividere un voi un appunto di natura accademica: l'arte e la cultura sono gli unici "beni" intesi in senso economico ad avere utilità marginale crescente. Si possono mangiare un numero limitato di alimenti prima che lo stimolo della fame venga placato, ma la fame di sapere, di approfondire, di creare connessioni è potenzialmente illimitato.
October 18, 2015
I'm a huge fan of Tarantino. I idolise his work and adore his films. This book was a treat to read.
August 30, 2012
Some of these theses are very informative and gives insight into certain aspects of Quentin Tarantino movies (not only the ones he directed).
April 8, 2024
Ne mogu reći da mi se pretjerano svidjela knjiga čisto zato što mislim da je u nekim dijelovima mrvicu nategnuto filozofsko značenje nekih Tarantinovih filmova.
Ono s čime se slažem da je često pitanje moralnosti u njegovim filmovima i osjetan utjecaj istočnjačke filozofije dobrano pomješano sa zapadnjačkom kršćanskom.
Ono s čime se slažem da je često pitanje moralnosti u njegovim filmovima i osjetan utjecaj istočnjačke filozofije dobrano pomješano sa zapadnjačkom kršćanskom.
January 31, 2010
The essay on Pulp Fiction and the discontinuity of Vincent was really good. Bathrooms, that's the primary down fall of that gangster. Another essay about KIll Bill and feminism was really good. Buddhist themes within Kill Bill was interesting also. Nietzsche and the superman as revealed through Jules in Pulp Fiction, now that was new to me too. The book begins with an essay on Death Race, but there isn't much about that movie (or True Romance neither). I still think this book has a lot of good ideas, but if you're not a big fan, don't bother reading every chapter.
This entire review has been hidden because of spoilers.
October 1, 2016
I love Tarantino films - while not usually a fan of bloody violence I find his style to be so over the top the gruesome bloodiness always takes on an unreal and (in a surreal kind of way) beautiful quality. This book of essays opens the lid on the big themes that run through all his films - violence, revenge, mercy, justice - and debates the rights, wrongs and the in-betweens. It's a book I've owned for years, flicking through and reading the odd bit of here and there, and it never fails to fascinate me.
November 18, 2014
Uno come me, un tarantiniano convinto, uno che ha sempre sostenuto che nei film di Tarantino ci fosse qualcosa di più del semplice intrattenimento, non poteva perdersi un titolo del genere.
Ed infatti non me lo sono perso.
Di norma questi libri sono delusioni, ma questo non è il caso.
La mia recensione sul mio blog : http://capitolonero.blogspot.it/2014/...
Ed infatti non me lo sono perso.
Di norma questi libri sono delusioni, ma questo non è il caso.
La mia recensione sul mio blog : http://capitolonero.blogspot.it/2014/...
April 10, 2018
This will be an easy review!
Everything I said for The Philosophy of Film Noir goes for this one as well.
Don't fall for it.
Everything I said for The Philosophy of Film Noir goes for this one as well.
Don't fall for it.
April 14, 2014
too many assumptions for my taste, but surely gives another perspective towards the movies ;)
Read
June 18, 2015Being hard core fan of Quentin i thoroughly enjoyed this book.This book is a feast for people who love dark comedies.
One word- Outstanding...
One word- Outstanding...
August 17, 2023
أفلام كوينتين تارانتينو
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هل يمكننا معرفة أي شيء عن الناس الحقيقيين من خلال مشاهدة أفلام تارانتينو؟ قد نتعلم أن كوينتين تارانتينو يعتقد أن الأشخاص القساة والأشرار يحصلون في النهاية على عقابهم (حتى يتعرض مارسيلوس للاغتصاب والضرب ، ولكنه لم يقتل ، ويتم القبض على السيد بينك) ولكن لا يوجد سبب
للاعتقاد بأن الرسالة التي تنقلها سلسلة من الأفلام تعكس ما يفكر فيه الكاتب والمخرج عن الأشخاص الواقعيين. قد يكون مجرد عرض وجهة نظر لا يؤمن بها.
علاوة على ذلك ، حتى لو كان تارانتينو يحمل وجهة النظر هذه حول الأشخاص الحقيقيين ، فهل ستساعد أفلامه في إثبات حقيقتها؟
يجادل نويل كارول بأنه لا يمكن لأحد أن يبرر وجهة النظر القائلة بأن البشر أطول من القرود من خلال فيلم يظهر أنهم أطول. إذن كيف يمكن لفيلم أن يبرر وجهة النظر القائلة بأنه ليس من المصلحة الشخصية للأشرار - على المدى البعيد - أن يتصرفوا بشكل سيء؟
قد تذكرنا أفلامه بشيء نسيناه ، أو ليس في طليعة أذهاننا ، من شأنه ��ن يدعم مثل هذه الرؤية. ربما تذكرنا بالإحصائيات التي قرأناها والتي تدعم فكرة أن "الأشرار" غالبًا ما يتم القبض عليهم من قبل السلطات ، أو يعانون على أيدي "الأشرار" الآخرين. ولكن ، على الأرجح ، ستذكرنا أيضاً بالحالات التي قرأناها في الصحف حول حصول شخص سيء على عقابه ، وهذا النوع من الأدلة القصصية لن يدعم وجهة النظر القائلة بأن المجرم لا يفلت أبدا من العقاب. لا تشمل هذه الأدلة الحالات التي يفلت فيها الأشرار من العقاب على جرائمهم الشنيعة وبالتالي لا تشكل عينة تمثيلية.
ربما يمكن لأفلام تارانتينو أن تقدم بعض النصائح العملية كالتالي: فكر مليًا قبل الانخراط في سلوك قاسٍ ووحشي ، لأنه قد لا يجدي نفعاً في النهاية ؛ المعاناة التي تتعرض لها في نهاية المطاف ، أو الخسارة في الأرواح ، سوف تفوق أي رضى أو شعور بالعدالة . ولكن حتى هنا ، يعتمد مدى جودة هذه النصيحة على احتمالية - في العالم الحقيقي - أن يتم القبض عليك أو تشعر بالندم على أفعالك الشريرة. إن حصول جميع الأشرار في أفلام تارانتينو بطريقة ما على العقاب مقابل أفعالهم الشريرة ليس دليلاً على أن جميع الأشرار أو حتى معظمهم في الحياة الواقعية يحصلون عليه.
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Richard Greene
Quentin Tarantino and Philosophy
Translated By #Maher_Razouk
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هل يمكننا معرفة أي شيء عن الناس الحقيقيين من خلال مشاهدة أفلام تارانتينو؟ قد نتعلم أن كوينتين تارانتينو يعتقد أن الأشخاص القساة والأشرار يحصلون في النهاية على عقابهم (حتى يتعرض مارسيلوس للاغتصاب والضرب ، ولكنه لم يقتل ، ويتم القبض على السيد بينك) ولكن لا يوجد سبب
للاعتقاد بأن الرسالة التي تنقلها سلسلة من الأفلام تعكس ما يفكر فيه الكاتب والمخرج عن الأشخاص الواقعيين. قد يكون مجرد عرض وجهة نظر لا يؤمن بها.
علاوة على ذلك ، حتى لو كان تارانتينو يحمل وجهة النظر هذه حول الأشخاص الحقيقيين ، فهل ستساعد أفلامه في إثبات حقيقتها؟
يجادل نويل كارول بأنه لا يمكن لأحد أن يبرر وجهة النظر القائلة بأن البشر أطول من القرود من خلال فيلم يظهر أنهم أطول. إذن كيف يمكن لفيلم أن يبرر وجهة النظر القائلة بأنه ليس من المصلحة الشخصية للأشرار - على المدى البعيد - أن يتصرفوا بشكل سيء؟
قد تذكرنا أفلامه بشيء نسيناه ، أو ليس في طليعة أذهاننا ، من شأنه ��ن يدعم مثل هذه الرؤية. ربما تذكرنا بالإحصائيات التي قرأناها والتي تدعم فكرة أن "الأشرار" غالبًا ما يتم القبض عليهم من قبل السلطات ، أو يعانون على أيدي "الأشرار" الآخرين. ولكن ، على الأرجح ، ستذكرنا أيضاً بالحالات التي قرأناها في الصحف حول حصول شخص سيء على عقابه ، وهذا النوع من الأدلة القصصية لن يدعم وجهة النظر القائلة بأن المجرم لا يفلت أبدا من العقاب. لا تشمل هذه الأدلة الحالات التي يفلت فيها الأشرار من العقاب على جرائمهم الشنيعة وبالتالي لا تشكل عينة تمثيلية.
ربما يمكن لأفلام تارانتينو أن تقدم بعض النصائح العملية كالتالي: فكر مليًا قبل الانخراط في سلوك قاسٍ ووحشي ، لأنه قد لا يجدي نفعاً في النهاية ؛ المعاناة التي تتعرض لها في نهاية المطاف ، أو الخسارة في الأرواح ، سوف تفوق أي رضى أو شعور بالعدالة . ولكن حتى هنا ، يعتمد مدى جودة هذه النصيحة على احتمالية - في العالم الحقيقي - أن يتم القبض عليك أو تشعر بالندم على أفعالك الشريرة. إن حصول جميع الأشرار في أفلام تارانتينو بطريقة ما على العقاب مقابل أفعالهم الشريرة ليس دليلاً على أن جميع الأشرار أو حتى معظمهم في الحياة الواقعية يحصلون عليه.
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Richard Greene
Quentin Tarantino and Philosophy
Translated By #Maher_Razouk
July 13, 2021
I am a huge Quentin Tarantino fan and was immediately drawn into this book. I picked it up immediately as well. Having finished it in almost one sitting, I believe that this book is not for me. Maybe at certain point of time, I'll re-read it again and hopefully, I'll change my mind then.
October 8, 2019
Personalmente avrei tagliato 2/3 articoli, le cui tesi sembrano troppo forzate. Gli altri ne fanno un gran bel saggio.
January 5, 2024
A handful of truly interesting pieces sandwiched between filler. It was fine.
Read
October 5, 2012Tarantino, Quentin
July 30, 2015
Taught me so much about Tarantino's films. Sole regret is that reviews end with kill bill 2.
Displaying 1 - 18 of 18 reviews