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(5 pp) As a post-modern artist, or film-maker, Quentin Tarantino has no problem using whatever parts or pieces of society which he thinks will enhance his films. That is not to say that he believes society can any longer be viewed as a whole, and singularly goal-orientated group. The major fragments Tarantino uses are alienation and pursuit of money, which can be labeled neo-marxism.
Thesis: Quentin Tarantino uses a post-modern framework to show us characters with a neo-marxist philosophy.
Bibliography lists 4 sources.
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5 pages (~225 words per page)
File: D0_BBqtinjb.doc
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The major fragments Tarantino uses are alienation and pursuit of money, which can be labeled neo-marxism. Thesis: Quentin Tarantino uses a post-modern framework to show us characters
with a neo-marxist philosophy. Bibliography lists 4 sources. BBqtinjb.doc EXAMINING QUENTIN TARANTINOS FILM JACKIE BROWN
BY THE ISMS Written by B. Bryan Babcock for the Paperstore, Inc., June 2001 Introduction As a post-modern artist, or film-maker, Quentin
Tarantino has no problem using whatever parts or pieces of society which he thinks will enhance his films. That is not to say that he believes society can any
longer be viewed as a whole, and singularly goal-orientated group. The major fragments Tarantino uses are alienation and pursuit of money, which can be labeled neo-marxism. Thesis:
Quentin Tarantino uses a post-modern framework to show us characters with a neo-marxist philosophy. Post-modernism According to Aronowitz (1992), modernism refers to the movement that attempted to
"strip representations of their life-world referents, the immediate narratives forming the core of our everyday, taken-for-granted worlds of life experience" (253). However, Aronowitz then defines "modernity as an economic
and political concept that refers to "growth oriented planning and production, with a pluralist political system in which class politics is replaced by interest group struggles, and with a strong
bureaucracy which can regulate relations among, and between, money and human capital" ( 253). Add to add a bit more of definition to the mix, Strickland (1992) says that
in postmodernism, "anything is up for grabs. "Allowable forms, materials, media, and content were expanded to such a degree that nothing seemed off limits, and artists grappled with the
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