The Dust Brothers

Born: 1983

The Dust Brothers were among the preeminent producers of the 1990s, helming records for everyone from Tone-Loc to Beck to Hanson while influencing countless others with their signature cut-and-paste marriage of hip-hop and rock. Not to be confused with the British production duo the Chemical Brothers, who began their career under the same name before receiving a cease-and-desist order, the Los Angeles-based Dust Brothers were Mike Simpson and John King, who met in 1983 while working at the Pomona College radio station. They originally teamed to DJ at parties, and by the end of the decade scored a production deal with the Delicious Vinyl label. In 1989, they scored chart success producing debuts from rappers Tone-Loc (the monster hit "Wild Thing") and Young MC, but their most distinctive early work was on the Beastie Boys' groundbreaking Paul's Boutique, widely acclaimed among the most innovative and influential albums of the period for its pioneering use of digital sampling. In the years to follow, the Dust Brothers emerged among the most sought-after remixers and producers in the industry, working on projects for everyone from White Zombie to Technotronic to Shonen Knife; they also founded their own label, Nickel Bag (later changed to Ideal), and in 1996 helmed Beck's extraordinary Odelay. Branching out even further, in 1997 they produced Hanson's chart-topping "MMMBop," as well as a handful of tracks from the Rolling Stones' Bridges to Babylon LP. Their first full-length solo record was the score for the 1999 film Fight Club

David Fincher - Filmography

Alien 3 (1992)

Seven (1995)
The Game (1997)
Fight Club (1999)
Panic Room (2002)
Zodiac (2007)
The Curious Case of Benjamin Button (2008)
The Social Network (2010)
The Girl with the Dragon Tattoo (2011)

Fight Club

Fight Club is a 1999 American film adapted from the 1996 novel of the same name by Chuck Palahniuk. The film was directed by David Fincher and stars Edward Norton, Brad Pitt, and Helena Bonham Carter. Norton plays the unnamed protagonist, an "everyman" who is discontented with his white-collar job in American society. He forms a "fight club" with soap maker Tyler Durden, played by Pitt, and becomes embroiled in a relationship with him and a dissolute woman, Marla Singer, played by Bonham Carter.

Inglourious Basterds - Postmodern Elements

In inglourious basterds there are verious postmodern elements which is typical of quentin tarantino.
Firstly, the music. in a war film you would expect to find old fashioned music from the era it is set or if not modern music conducted to sound old. however, in i.b, tarantino uses modern music. for example, in one scene he plays a david bowey song. although the song works for the scene of shosanna doing her hair and makeup, yet clearlly wasnt released in that time era.
also, the way tarantino uses music from spaghetti westerns is strange. this is odd as you wouldnt expect cowboy like music in a war film because it is completely mixing two genres. yet in the woods scene it does work.
Furthermore, the way the film starts with 'once upon a time' and is split into chapters is post modern. in a war film you would maybe expect it to be split up into dates/years, yet not chapters with that opening line. this implies it is a fairy tale and all made up. which in the most it is, yet the idea is that you believe this happened during WW2.
another element is the way in the first scene where the colonel goes to the house where the man is hiding the jews under the floorboads, you can notice that the backdrops are actually painted. this is strange as you would expect them to just film in a place where the backdrops work, rather than painting them yourself.
To continue, tarantino also gets the basterds to 'scalp' the people they kill. this would not of happened in WW2, so mixing two different time periods together and entwining different ways of killing makes the film different and gets the audience to think about what really happened back in the war.
In the scene where we see soshonna walking around her cinema, it turns into a birds eye view so you can see that it is all just a set and not a real building. this is postmodern as you would NEVER expect a film director to allow the audience to recognise that it is all a set as it gets rid of the authenticity of the film and almost spoils it for the audience as they then are placed back into reality of knowing the film is just a film. however, when you are watching i.b you dont really pay much attention to it, and it almost skips your mind of what youve just witnessed. its only a little while after when i really noticed it and couldnt believe what tarantino had done on such a huge film.
Another scene where postmodernism is used is where there is a split screen of a man trying to get a nitrate film onto a bus. this is strange as this is a modern thing to do (to split screen) and the whole film is based on old fashioned war.

Postmodernism Theories

john fiske.

a scene only makes sence when put into context with others we have seen. for example, a car chase scene only makes sence because of what we have saw on tv etc as we are not likely to of been in a car chase ourselves. the viewer of this car chase then decodes it.

jacques derrida.

made sence of the way commentators of 9/11 could only describe it like something 'from a film'. (the day after tomorrow.)

so... if we encounter a real life genre experience, the decoding process becomes confused.

in relation to inglorious basterds.

because now there are little people alive who experience WW2, when we watch inglorious basterds we decode it from other films and documentaries we have seen to make sence of it.

gerard genette.

transtextuality -

1. intertextuality

2. architextuality

3. metatextuality

4. hypotextuality

in relation to inglorious basterds.

- the big bold cartoon like lettering of the basterds names is in yellow which links to kill bill

- The Searchers final scene featuring John Ford, he stands in a doorway so you can see his silhouette which links to the scene in inglorious basterds when the captain is watching the jew run away in the doorway.

- can see that inglorious basterds is just one big set when he does a birds eye view of the cinema

WW2 timeline

1939

•Hitler invades Poland on 1 September. Britain and France declare war on Germany two days later.

1940

•Rationing starts in the UK.
•German 'Blitzkrieg' overwhelms Belgium, Holland and France.
•Churchill becomes Prime Minister of Britain.
•British Expeditionary Force evacuated from Dunkirk.
•British victory in Battle of Britain forces Hitler to postpone invasion plans.

1941

•Hitler begins Operation Barbarossa - the invasion of Russia.
•The Blitz continues against Britain's major cities.
•Allies take Tobruk in North Africa, and resist German attacks.
•Japan attacks Pearl Harbor, and the US enters the war.

1942

•Germany suffers setbacks at Stalingrad and El Alamein.
•Singapore falls to the Japanese in February - around 25,000 prisoners taken.
•American naval victory at Battle of Midway, in June, marks turning point in Pacific War.
•Mass murder of Jewish people at Auschwitz begins.

1943

•Surrender at Stalingrad marks Germany's first major defeat.
•Allied victory in North Africa enables invasion of Italy to be launched.
•Italy surrenders, but Germany takes over the battle.
•British and Indian forces fight Japanese in Burma.

1944

•Allies land at Anzio and bomb monastery at Monte Cassino.
•Soviet offensive gathers pace in Eastern Europe.
•D Day: The Allied invasion of France. Paris is liberated in August.
•Guam liberated by the US Okinawa, and Iwo Jima bombed.

1945

•Auschwitz liberated by Soviet troops.
•Russians reach Berlin: Hitler commits suicide and Germany surrenders on 7 May.
•Truman becomes President of the US on Roosevelt's death, and Attlee replaces Churchill.
•After atomic bombs are dropped on Hiroshima and Nagasaki, Japan surrenders on 14 August.