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Tag: Quentin Tarantino
By Arturo R. García and Kendra James
So God Made A Latino Farmer: While most of us watching the Super Bowl were creeped out by the latest GoDaddy crime against humanity, Dodge tried to get slick with its “So God Made A Farmer” ad, attaching the words of right-wing radio host Paul Harvey to a collage of “heartland” images depicting the agricultural trade.
Only there weren’t any Latinos in it. At all. Even though 72 percent of farm workers are immigrants. So the video above is Isaac Cubillo’s remixed version, which strikes us as a bit more true to life than Dodge’s appeal to the CMT crowd.–AG
Read the Post The Racialicious Entertainment Roundup 2.8.13
By Guest Contributor Paul Barrett; originally published at New Solitudes
What I find surprising in the critical and personal responses I’ve heard to Django Unchained is the unwillingness to discuss what notions of race the film traffics in. What is Tarantino’s vision of blackness and whiteness, and how does his aesthetic mode of borrowing from every movie he’s ever seen contribute to his notion of race, cultural difference, and racism?
The feud between Quentin Tarantino and Spike Lee is one point of entry for discussing Django Unchained. Lee refuses to see the film, arguing that “American slavery was not a Sergio Leone spaghetti western. It was a holocaust. My ancestors are slaves. Stolen from Africa. I will honor them.”
At the heart of Lee’s critique, and much of the debate over Django Unchained are the questions of historical appropriation–who has the right to tell particular stories–and the question of realism. The latter question really asks, how can we tell particular stories? Is it disrespectful, irresponsible, or racist to depict slavery as a spaghetti western or in an unreal fashion?
By Arturo R. García, Kendra James, and Joseph Lamour
Golden Globe Awards: I didn’t enjoy my Django Unchained viewing experience. Just putting that out there before I admit that, while I generally find Quentin Tarantino to be in extremely poor taste, I think he’s a great screenwriter. Reading his screenplays for Pulp Fiction and Jackie Brown (two movies I don’t actually enjoy watching) were a much-needed respite in the first film class I took in high school. While I haven’t read the screenplay for Django yet, I don’t doubt it’s any less well written than his others and, for that reason, I didn’t have any problem with him winning the Golden Globe for Best Original Screenplay last week …
… until he went backstage and pulled a Typical Tarantino, dropping the N-word 30 seconds into his press conference much to the discomfort of every other sensible person in the room.
Mr. Jackson, come get your boy.–KJ
Read the Post The Racialicious Entertainment Roundup 1.12-18.13
The only person of color to score a win at last night’s Golden Globe Awards…
Rev. Al Sharpton’s National Action Network called for a national boycott Tuesday of action figures based on the controversial and blood-soaked slavery revenge flick Django Unchained. A 10-doll assortment of characters from the film was going for $299 on Amazon Tuesday.
“Selling this doll is highly offensive to our ancestors and the African American community,” Rev. K.W. Tulloss, NAC’s president in Los Angeles, told the Daily News. “The movie is for adults, but these are action figures that appeal to children. We don’t want other individuals to utilize them for their entertainment, to make a mockery of slavery.”
First of all, Django Unchained could’ve gone horribly wrong. However brilliant a director, Quentin Tarantino is famous amongst people of color for fetishizing African-American culture, and his liberal use of the N-word in Pulp Fiction and Jackie Brown still rankles folks 15 years after the fact. Tarantino injecting a Blaxploitation-style baadassss freed slave into his vision of the antebellum South could’ve been disastrous. The director’s recent comments about Roots, which he has described as “inauthentic” also raised the eyebrows of many filmgoers who were already nervous about what his slavery narrative would bring. Any crass, gratuitous depiction of Whites raping actress Kerry Washington in a popcorn movie, and “Django Unchained” would’ve been a wrap.
But that’s not what happened. Instead, the Oscar-winning Jamie Foxx plays Django as a gunslinging superhero, the fastest gun in the West.
–Miles Marshall Lewis, Ebony
“When you look at Roots, nothing about it rings true in the storytelling, and none of the performances ring true for me either,” says Tarantino. “I didn’t see it when it first came on, but when I did I couldn’t get over how oversimplified they made everything about that time. It didn’t move me because it claimed to be something it wasn’t.”
While many white directors might shy away from criticizing such an iconic symbol of African-American culture, Tarantino doesn’t hold back. He’s confident in his knowledge of a time and subject most people know little about and would rather forget. He was also savvy enough to bring Hudlin on board. “There were times when I’d be filming a scene and really getting into it and Reg would just say, ‘Hey is this the story you wanted to tell?’ He’d bring the focus back if I got too carried away.”
–Alison Samuels, The Daily Beast
By Arturo R. García
When it’s all said and done, Spike Lee isn’t totally wrong in not wanting to see Quentin Tarantino’s Django Unchained.
Setting aside Tarantino’s interpretation of the pre-Civil War south for a second, Django finds him retreading familiar ground: it’s more Kill Bill than Inglorious Basterds. But in insulating both his hero and his story from history as much as he does here, the writer/director ends up shortchanging both of them.
Spoilers under the cut.
Read the Post Black In The Saddle: The Racialicious Review Of Django Unchained
By Andrea Plaid
What can you say about an actor whose blessed several generations of pop-culture afficianados–especially young Black girls–with indelible images of Black female badassery? Well, you know we at the R can wax rhapsodic and ecstatic about the folks we love…and this is Pam frickin’ Grier, so we’re gonna wax thankful–along with rhapsodic and ecstatic–for her life and legacy.