Baudrillard and Lyotard's Theories Within Inglorious Basterds

Braudrillard's theory his based upon the idea of hyper-reality; something which makes it easily associated with Inglorious Basterds. It can be seen that there are numerous points in which Baudrillard can be associated with Inglorious Basterds.  For example:

• The characters themselves can be classified as hyper-real; especially Aldo Raine and Hitler who are both portrayed as extremes within social boundaries.
• The death of Hitler and the top five within the Nazis party is particular Hyper-real as it alters reality in which none died in a cinema. It is taking this element from the film and warping it into its own reality.
• The portrayal of the British and British characters within the film is another point of hyper-reality. This can be seen due to the perfect nature of their actions and elegance, something from reality but viewed stereotypically to be correct.
• Props within the film can be seen as hyper-real. An example of this includes Hans Landas pipe in the opening scene. This hyper-reality is used to add humour and to break the tense scene. 

The theorist Lyotard believes in the idea that postmodern films are made of micro-narratives, which are unpredictable in nature compared to the grand narratives of of modernist films pre-1960. He believes films which fall under this category are those which are unpredictable to the audience and that reflect diversity in the narrative. There are elements of this in Inglorious Basterds:

• The plot takes a great twist in the projection room scene in the final chapter where Shoshanna and Frederick Zoller both die at the hands of each other. This is unpredictable because Shoshanna is established as arguably the main character-we do not expect her to die.
• There is an unpredictable nature to the tavern scene in 'Operation Kino'. The violent end is unexpected as the dialogue had be running for so long, plus there is the added element that characters defined as 'good' die in the scene.
• There is also the unpredictable nature of Tarantino's choice of music; highlighted by his use of the 1980 David Bowie song over the top of scene where Shoshanna prepares for the cinema evening.