1.  We have nothing against either remix or mashup aesthetics, nor are we claiming that they are somehow less creative than more traditional forms of art. We draw this distinction simply to note that Tarantino’s “signature style” of filmmaking doesn’t fit traditional models of auteurism well in the first place. [return to page 1]

2.  To be clear, there’s nothing new about people with multiracial heritages. There is, however, a growing tendency for multiracial people to self-identify as such, rather than to claim single, normative racial identities for themselves.

3.  For example, despite the presence of John Singleton (Boyz n the Hood, Rosewood, Shaft) in the director’s chair, we’re not convinced that 2 Fast 2 Furious (sequel to the Vin Diesel vehicle, The Fast and the Furious) counts as a “black film.”

4.  See Hall (1991) for a discussion of a comparable rearticulation of blackness, used to help forge anti-racist political alliances in Britain in the 1970s.

5.  Gates (2013) offers a helpful discussion of the historical facts and myths connected to the “house slave vs. field slave” debate. [return to page 2]

6.  The feud itself dates back to 1997, when Jackie Brown was released, though Tarantino certainly wasn’t shy about using the “n-word” in Reservoir Dogs (1992) or Pulp Fiction (1994).

7.  For more on the dicey representational politics of black women whose only function in a film is to serve as mistresses to white men, see Harris-Perry (2011) and hooks (1992). [return to page 3]

8.  For more on the merits of “impolite” political interventions, see Awkward (2009), Boyd (2003), hooks (2000), Kipnis (1992), and Rodman (2006).


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