The opening credits of the film play alongside ‘The Green Leaves of Summer’, music originally from the spaghetti western ’The Alamo', released in the 1960’s. This initially could lead you to believe that what you are about to witness is a gunfight or some sort of conflict. Instead the opening scene is that of a man and a woman out in the fields outside a small country house. However, the music isn't entirely misleading as spon after this the German's arrive and tension builds. Another key point within the opening credits is the yellow text that is used, a feature of a lot of Tarantino films. This establishes his style from the beginning. The 'once upon a time' shown before the opening scene shows that the film is self aware and is likely to be unrealistic as these words are well known for opening fairytales. As well as this the scenes are introduced in chapters, an unusual feature, especially within a war film, which this predominantly is.
Again, within the opening scene, yellow text is used for subtitles, rather than the usual white. One thing within this scene that shows that it is post modern is that the scenery is shown as not real. The camera pans below the floorboards, showing the edge of the set, reminding the viewer that it isn't real. Tarantino uses this technique in many of his films and uses it again later in 'Inglourious Basterds'. Though the first scene is full of tension there isn't the non-stop action that you would usually associate with the war genre of films. It is mainly focused on the dialogue instead.
A post-modern element explored within this film is the hyper reality which is shown by exaggeration of the characters. The character of Hans Lander within the first scene is portrayed as unrealistic and stereotypical. His behaviour is over the top and his accent is thick. The demeanour of the character gives the scene a sense of unease that is present both with the audience and between the characters. When the Basterd's are introduced in chapter two, again there is hyper reality explored through characterisation. Brad Pitt's character, Aldo Raine, has a thick southern accent that is over done throughout the whole film. The characterisation of Hitler is also is also very stereotypical, making the character seem humourous rather than intimidating. Because of the way the characters played along with there not being much background knowledge about the Basterd's a lot of the emotion is stripped away. This makes the film a lot more comical and again, very unusual for a war film. This blending of genres is another element that makes 'Inglourious Basterds' post-modern.
At the end of the scene when Shosanna is seen running from the house intertexuality is used. The shot from the doorframe looking outside is reminiscent of 'The Searchers' a 1950's western. Within chapter two we are introduced to the character of the bear jew, using seemingly out of place editing to make it look like a newspaper, more suited to a comedy action film. When Hugo Siglitz is introduced his name comes up on the screen in the yellow font used before, reminding the audience that they are watching a film and that it is not real. Also, as this is happening on screen there plays a song in the background called 'Slaughter', which is an example of Blaxpolitation music used in this film. This is music usually associated with the ethnic subgenre of exploitation film in the United States in the 1970s. 'Inglourious Basterds' is set during the Second world War so this music seems to be completely unrelated, especially because of the instruments used within the music. This music is used to emphasise this scene, showing the characters as important. In usual war films, such as Saving Private Ryan there would be more sound effects (gun shots, bombs, etc) but the sound and music of 'Inglourious Basterds' sets it apart.
The lack of realism may make the gore easier to stomach. Though there isn't as much action with scenes of mass murder such as in Saving Private Ryan, for instance, it is still a war film and there are deaths that occur. The special effects for these parts aren't particularly unrealistic, which you might expect given the rest of the film but it still doesn't seem real given the lack of emotion and detachment of the characters. Within any other film this may simply say something about the characters themselves but within a post modern setting it alters the tone of the film.
Another post modern feature occurs in chapter three when Shoshanna and Marcel talk about burning down the cinema. A clip in the style of a public information film that would have been seen at the time is shown, talking about the flammability of nitrate films. The voiceover for this part is done by Samuel L Jackson, someone not normally associated with these types of film but a favourite of Tarantino.
In chapter four when the British characters are first introduction and talking to each other the characterisation is again stereotypical and over the top. They are set in a very grand a large looking room, though there aren't many props, making the room look empty. The characters have very stereotypical English accents; posh and over the top. They speak very politely to each other and are very charming though there is probably no need to be because they seem to know each other quite well. Rod Taylor plays the character of Winston Churchill, though he doesn't speak for most of the scene and instead can be seen sitting and drinking in a corner of the room. Tarantino is a fan of Rod Taylor and wanted him specifically for this role though he was in retirement at the time.
The tavern scene is very important to the film and it introduces the character of Bridget von Hammersmark. There are references to popular culture such as King Kong within the game they are playing. Most of the scene is made up of dialogue between the soldeirs rather than a lot action, which you might expect from a straight war film. However, the dynamic of the tavern scene is strange and is used to build tension to the end of the film where the action does then occur. This sense of tension is created through how the characters speak to each, at one point one of the characters is asked about his accent and from here pressure builds because they have been found out. The dynamic of the characters does not seem realistic but does fit with the rest of the film. There is also a comical feel toward the end of the scene because the guns are pointed to the men's testicles. There is another intertextual reference within this scene when the barman recahes for his shotgun that is behind counter, a feature of many western films.
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