Quentin Tarantino’s Django Unchained: The Continuation of Metacinema

Cover\nContents\nIntroduction: A Southern State of Exception\nPart One Cultural Roots and Intertexts: Germany, France, and the United States\n	1 Dr. “King” Schultz as Ideologue and Emblem: The German Enlightenment and the Legacy of the 1848 Revolutions in Django Unchained\n	2 Franco-faux-ne: Django’s Jive\n	3 Of Handshakes and Dragons: Django’s German Cousins\n	4 Django and Lincoln: The Suffering Slave and the Law of Slavery\nPart Two Philosophy Unchained: Ethics, Body Space, and Evil\n	5 Bodies In and Out of Place: Django Unchained and Body Spaces\n	6 The “D” Is Silent, but Human Rights Are Not: Django Unchained as Human Rights Discourse\n	7 Hark, Hark, the (dis)Enchanted Kantian, or Tarantino’s “Evil” and Its Anti-Cathartic Resonance\n	8 Value and Violence in Django Unchained\nPart Three Questions of Race and Representation: What Is a “Black Film”?\n	9 Thirteen Ways of Looking at a Black Film: What Does It Mean to Be a Black Film in Twenty-First Century America?\n	10 Chained to It: The Recurrence of the Frontier Hero in the Films of Quentin Tarantino\n	11 “Crowdsourcing” “The Bad-Ass Slave”: A Critique of Quentin Tarantino’s Django Unchained\n	12 Guess Who’s Coming to Get Her: Stereotypes, Mythification, and White Redemption\n	13 Django Blues: Whiteness and Hollywood’s Continued Failures\nWorks Cited\nNotes on Contributors\nIndex