The feature films of Quentin Tarantino are clearly inscribed in a long tradition of anti-illusionist fiction. They deploy an impressive arsenal of reflexive devices—chapter headings, conspicuous camerawork and editing, intertexuality, theatricality—some of which draw attention away from the diegesis to the medium of film by invoking another medium (comics, drama, the novel). These practices, however, do more than just flaunt the films’ artificiality. Rather, they are integral to the production of metafictional discourses. These cinematic metafictions rely on many of the overt and covert strategies identified by Hutcheon in literary metafiction. On the formal level, the specifically cinematic reflexive devices, including the iconization of genre characters, draw attention to the films’ building blocks. On a diegetic level, storytelling, role-playing, and making movies are thematized through dialogue, narrative, and ...
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