Post-Nostalgia in the Films of Quentin Tarantino and Robert Rodriguez
Keywords:
Quentin Tarantino, Robert Rodriguez, post-nostalgia, Fredric Jameson, cinemaAbstract
This article examines how Quentin Tarantino and Robert Rodriguez reinterpret nostalgia in postmodern cinema. Drawing on Fredric Jameson’s theory, it argues that these directors replace nostalgic idealization with violent and fragmented representations of the past. The study demonstrates how their films challenge stable historical narratives and conventional storytelling structures. By analyzing works such as Reservoir Dogs, it shows how post-nostalgic cinema destabilizes temporal continuity and redefines cultural memory.
(The abstract and keywords were prepared retrospectively for indexing purposes using AI-assisted tools and editorial review, based on the original article. They did not appear in the original publication.)
References
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Jameson, Fredric. “Postmodernism and Consumer Society.” Postmodernism and Its Discontents. Ed. E. Ann Kaplan. New York: Verso, 1988. 13-58.
Rodriguez, Robert, dir. Desperado. Columbia Pictures, 1995.
-----. dir. El Mariachi. Columbia Pictures, 1993.
Sarup, Madan. An Introductory Guide to Post-Structuralism and PostModernism. Athens: University of Georgia Press, 1988.
Tarantino, Quentin, dir. Pulp Fiction. Miramax Films, 1994.
-----. dir. Reservoir Dogs. Miramax Films, 1991.
Woods, Paul A. King Pulp: The Wild World of Quentin Tarantino. New York: Thunder’s Mouth Press, 1996.
