Vol. 4 No. 2 (2024): July-December
Miscelánea

Quentin Tarantino’s Hollywood. Analysis of False Intertextuality in Pulp Fiction, Inglourious Basterds and Once Upon a Time in…Hollywood

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  • Gabriel Dumont González
Gabriel Dumont González
Universidad Central de Venezuela
DOI: https://doi.org/10.21555/cya.v4.i2.3100

Published 2024-05-27

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How to Cite

Dumont González, G. (2024). Quentin Tarantino’s Hollywood. Analysis of False Intertextuality in Pulp Fiction, Inglourious Basterds and Once Upon a Time in…Hollywood. Conocimiento Y Acción, 4(2). https://doi.org/10.21555/cya.v4.i2.3100

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Abstract

Throughout history, literature has offered significant practical and theoretical possibilities to cinema. In relation with the last one, the theory of transtextuality, developed by Gerard Genette, has gained great relevance for the study of films and series, due to the extensive number of quotes and allusions from movies within others. This led film theorists Robert Stam, Robert Burgoyne and Sandy Flitterman-Lewis to develop additionally five transtextual relationships designed expressly for cinema. Currently, filmmaker Quentin Tarantino is the one who uses most transtextuals forms in his filmography, as part of his authorial style; he has even created fake films and tv series that only exist within fis filmography, which can be analyzed as another form of transtextuality. Therefore, we will use the notion of false intertextuality, by Stam, Burgoyne and Flitterman-Lewis, to study these cases of false films and series created by Tarantino and the various narrative and stylistic purposes that they have within his filmography.

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