David Roche, Inglourious Basterds de Quentin Tarantino by Julien Achemchame

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The holocaust and interlocution between continuous and discontinuous history/time : cinematic responsibility after 9/11. by Goh, Wee Kiat.

“…Features like Inglourious Basterds (2009) also avoid an “active-German-Nazi-against-passive-Jewish-victim” narrative. …”
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The Sound of Austria in Films about the Shoah and National Socialism by Elias Berner

“…From this point, I also set off in search of “The Sound of Austria” in Claude Lanzmann’s nine-hour documentary Shoah and the two Hollywood blockbusters Inglourious Basterds and Schindler’s List. What role does the image of Austria as a “country of music” play in these very different films and film genres that deal with the Shoah? …”
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Operating between Cultures and Langugages: Multilingual Films in Foreign Language Classes by Gabriele Blell

“…The article uses examples from Quentin Ta­rantino’s Inglourious Basterds (2009), Gonzalez Iñarritu’s Babel (2012) and Wim Wenders’ documentary Pina (2011). …”
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Cinematic responsibility after 9/11. by Goh, Wee Kiat.

“…The three documentary films, As Seen Through These Eyes, Four Seasons Lodge and Defamation (2009) discuss about the Holocaust without sole dependence on historical footage of German concentration camps. Films like Inglourious Basterds and District 9 (2009) disrupt the historical narrative of German Nazis as villains and Jews as victims. …”
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Return to the Grindhouse: Tarantino and the modernization of 1970s Exploitation Films by Jenny Platz

“…Director Quentin Tarantino’s films Death Proof (2007), Kill Bill I and II (2003 and 2004), Jackie Brown (1997), and Inglourious Basterds (2009) attempt to modernize the active women from exploitation films of the 1970s, reworking the female characters’ mobilization against typical gender roles, and attributing her with the abilities to compete, and even challenge men in a patriarchic society.However, Tarantino’s films mostly fail to progress beyond the trappings of the classic exploitation films of the 1970s, still relying heavily on the excessive display of female bodies, and subjugating women to the male camera and spectator gaze. …”
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