Race on the QT : Blackness and the Films of Quentin Tarantino

**Winner, Ray & Pat Browne Award for Best Reference/Primary Source Work in Popular and American Culture, Popular Culture Association/American Culture Association, 2016** Known for their violence and prolific profanity, including free use of the n-word, the films of Quentin Tarantino, like the director himself, chronically blurt out in polite company what is extremely problematic even when deliberated in private. Consequently, there is an uncomfortable and often awkward frankness associated with virtually all of Tarantino's films, particularly when it comes to race and blackness. Yet beyond the debate over whether Tarantino is or is not racist is the fact that his films effectively articulate racial anxieties circulating in American society as they engage longstanding racial discourses and hint at emerging trends. This radical racial politics—always present in Tarantino's films but kept very much on the quiet—is the subject of __Race on the QT__. Adilifu Nama concisely deconstructs and reassembles the racial dynamics woven into __Reservoir Dogs__, __True Romance__, __Pulp Fiction__, __Jackie Brown__, __Kill Bill: Vol. 1__, __Kill Bill: Vol. 2__, __Death Proof__, __Inglourious Basterds__, and __Django Unchained__, as they relate to historical and current racial issues in America. Nama's eclectic fusion of cultural criticism and film analysis looks beyond the director's personal racial attitudes and focuses on what Tarantino's filmic body of work has said and is saying about race in America symbolically, metaphorically, literally, impolitely, cynically, sarcastically, crudely, controversially, and brilliantly. Known for their violence and prolific profanity, including free use of the n-word, the films of Quentin Tarantino, like the director himself, chronically blurt out in polite company what is extremely problematic even when deliberated in private. Consequently, there is an uncomfortable and often awkward frankness associated with virtually all of Tarantino's films, particularly when it comes to race and blackness. Yet beyond the debate over whether Tarantino is or is not racist is the fact that his films effectively articulate racial anxieties circulating in American society as they engage longstanding racial discourses and hint at emerging trends. This radical racial politics--always present in Tarantino's films but kept very much on the quiet--is the subject of "Race on the QT." Adilifu Nama concisely deconstructs and reassembles the racial dynamics woven into "Reservoir Dogs," "True Romance," "Pulp Fiction," "Jackie Brown," "Kill Bill: Vol. 1," "Kill Bill: Vol. 2," "Death Proof," "Inglourious Basterds," and "Django Unchained," as they relate to historical and current racial issues in America. Nama's eclectic fusion of cultural criticism and film analysis looks beyond the director's personal racial attitudes and focuses on what Tarantino's filmic body of work has said and is saying about race in America symbolically, metaphorically, literally, impolitely, cynically, sarcastically, crudely, controversially, and brilliantly.--Publisher description Asserting that race has been the cornerstone of most of Quentin Tarantino's films, this book uncovers the racial politics, progressive and regressive, hidden on the "QT" in the director's work from Reservoir Dogs and Pulp Fiction to Inglourious Basterds a