Semiotics of intertextuality in the films of Quentin Tarantino

Tema ovog rada je semiotika intertekstualnosti u filmovima Quentina Tarantina. Kako bi se stvorila jasna podloga za analizu njegovih filmova prvo je pojašnjen pojam postmodernizma u okviru kojeg Tarantino i djeluje te su objašnjena njegova obilježja. Nastavno na to, definiran je i postmoderni film i njegove karakteristike. Intertekstualnost, kao jedan od fenomena postmodernizma i postmodernog filma, definirana je te su spomenute njezine vrste i stupnjevi. Prije same analize Tarantinovih filmova ukratko je opisano njegovo stvaralaštvo kako bi se bolje upoznao njegov rad. U analizi je obuhvaćeno pet njegovih filmova: “Psi iz rezervoara”, “Pakleni šund”, “Kill Bill: Vol 1 i Vol 2”, “Nemilosrdni gadovi” te “Odbjegli Django”. Prvi korak je ukratko predstavljanje svakog filma, a idući je identifikacija intertekstualnih elemenata u njima. Analizom je utvrđeno kako postoji jasno vidljiva intertekstualnost među filmovima samog Tarantina, ali također između filmovima Tarantina i drugih autora.The subject of this thesis is semiotics of intertextuality in movies directed by Quentin Tarantino. To lay a solid foundation for the analysis of his movies, firstly the term postmodernism is explained in the context of which Tarantino works and also its features. Next, postmodern film is also defined along with its characteristics. Intertextuality, as one of the phenomena of postmodernism and postmodern film, is defined and its types and levels are mentioned. Before the actual analysis of Tarantino’s movies his lifework is shortly described to better understand his work. Five of his movies are included in the analysis: “Reservoir Dogs”, “Pulp Fiction”, “Kill Bill: Vol 1 and Vol 2”, “Inglorious basterds” and “Django unchained”. The first step is a short introduction of each film and after that the identification of intertextual elements within. The analysis has found a clear intertextuality among Tarantino's movies, but also among his movies and other authors