After the cascade of allegations of sexual assault made against Harvey Weinstein, Quentin Tarantino’s longtime producer, what can one say about Tarantino or the violence of his films? According to Uma Thurman, star of his reputation-making Pulp Fiction (1994), Tarantino learned that Weinstein tried to sexually assault her prior to shooting Kill Bill, Vol. 1 (2003); Thurman has indicated that this may have soured their working relationship on the two-part film (Dowd). Richard Rodriguez, Tarantino’s longtime collaborator on films such as From Dusk Till Dawn (1996) and Sin City (2005), asserts that he wrote his segment of Tarantino’s next release, Grindhouse (2007), for Rose McGowan in response to her claims of having been raped by Weinstein. After hearing McGowan’s story, Rodriguez remarked: “I ... revealed to Rose right then and there that I was about to start writing a movie with Quentin Tarantino, a double feature throwback to 70’s exploitation movies, and that if she was interested, I would write her a BAD ASS character and make her one of the leads” (Lang). When the allegations against Weinstein appeared, Tarantino explained to the New York Times that he knew about the alleged assaults of Thurman, McGowan, and Mira Sorvino, and admitted, “I knew enough to do more than I did” (Kantor). At the very least, Tarantino, by his own admission, is implicated in a Hollywood culture pervaded by abuse. To engage with his films now means that one must grapple with the ways in which his work conjures and justifies violent feelings. Such issues have marked Tarantino’s work from the start, from the opening dialogue about Madonna in Reservoir Dogs (1991) to the questionable critique of media in Natural Born Killers (1994). However, Tarantino’s films subsequent to his apparent knowledge of Weinstein’s alleged crimes mark a renewed focus on the revenge plot. Death Proof (2007), Inglourious Basterds (2009), Django Unchained (2012), and The Hateful Eight (2015) present viewers with representational questions about violence in terms of gender and race, and attempt to build an aesthetic and ethical project to examine the production of feelings that encourage, justify, or incite violence. To recognize the nature of this project does not mean that one should accept at face value

中文翻译：

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暴力感觉：昆汀·塔伦蒂诺的残酷乐观

在针对昆汀·塔伦蒂诺（Quentin Tarantino）的长期制片人哈维·温斯坦（Harvey Weinstein）提出一系列性侵犯指控之后，人们对塔伦蒂诺（Tarantino）或其电影的暴力行为有何评价？据乌玛·瑟曼（Uma Thurman）（1994年）的口碑小说明星，塔兰蒂诺（Tarantino）了解到，温斯坦（Weinstein）在射杀《杀死比尔（Vol。2）》之前曾试图对她进行性侵犯。1（2003）；瑟曼已经表示，这可能会削弱他们在两部电影（Dowd）中的工作关系。Tarantino与电影From From Dusk Till Dawn（1996）和Sin City（2005）的长期合作者Richard Rodriguez断言，他为Rose McGowan撰写了Tarantino下一个发行版本Grindhouse（2007）的片段，以回应她声称拥有被温斯坦强奸。在听了麦克高恩的故事后，罗德里格斯评论道：“我... 当时向罗斯透露，我将要开始与昆汀·塔伦蒂诺（Quentin Tarantino）一起写电影，这是70年代的剥削电影的双重特征，如果她有兴趣，我会给她写一个BAD ASS角色，让她成为其中的一员。线索”（郎）。当出现针对温斯坦的指控时，塔伦蒂诺（Tarantino）向《纽约时报》解释说，他知道对瑟曼，麦克高恩和米拉·索维诺的袭击，并承认：“我所能做的比我做得还多”（康托尔）。至少，塔伦蒂诺（Tarantino）承认自己受虐待所笼罩的好莱坞文化的影响。现在，要与他的电影互动，就意味着人们必须努力应对他的作品所产生的变幻并证明其暴力感觉的理由。这些问题从一开始就标志着塔伦蒂诺的工作，从有关《麦当娜》在《狗狗》（1991）的开场白到对《自然杀手》（1994）媒体的质疑。然而，塔伦蒂诺在明显了解韦恩斯坦涉嫌犯罪之后的电影标志着人们对报仇情节的重新关注。死亡证明（2007），无耻混蛋（2009），Django Unchained（2012）和《仇恨八人》（2015）向观众提出有关性别和种族暴力的代表性问题，并尝试建立一个美学和道德的项目来研究鼓励，证明或煽动暴力的情绪产生。认识到这个项目的本质并不意味着一个人应该从容面对 塔伦蒂诺在明显了解韦恩斯坦涉嫌犯罪之后的电影标志着人们对报仇情节的重新关注。死亡证明（2007），无耻混蛋（2009），Django Unchained（2012）和可恨的八人（2015）向观众提出有关性别和种族暴力的代表性问题，并试图建立一个美学和道德的项目来研究鼓励，证明或煽动暴力的情绪产生。认识到这个项目的本质并不意味着一个人应该从容面对 塔伦蒂诺（Tarantino）在明显了解温斯坦所指控的罪行之后的电影标志着对复仇情节的重新关注。死亡证明（2007），无耻混蛋（2009），Django Unchained（2012）和可恨的八人（2015）向观众提出有关性别和种族暴力的代表性问题，并试图建立一个美学和道德的项目来研究鼓励，证明或煽动暴力的情绪产生。认识到这个项目的本质并不意味着一个人应该从容面对 并尝试建立一个美学和道德的项目，以检验鼓励，证明或煽动暴力的情感的产生。认识到这个项目的本质并不意味着一个人应该从容面对 并尝试建立一个美学和道德的项目，以检验鼓励，证明或煽动暴力的情感的产生。认识到这个项目的本质并不意味着一个人应该从容面对