B A C O N (MIXTAPE)

A feel good/old school vibes mixtape created by me.

 Not many Beyoncé because she required her own playlist of Beyoncé. 

1.  Ultralight Beam - Kanye West (Wedding)
2.  Murder to excellance - Jay Z, Kanye West (Barcelona) 
3.  Illest Motherfucker Alive - Jay Z, Kanye West (Barcelona)
4.  Superstar - Lupo Fiasco 
5.  Through the Wire - Kanye West (24:04 - 24:24 - Just like the style of music)
6.  What is love - V Bozeman (Her voice - Empire the TV series)
7.  The Devil is a lie - Rick Ross (Music)
8.  Pt. 2 - Kanye West (Music)
9.  Get by - Talib Kweli - (My mum, finding my own taste in music at 10 years old) 
10.  How we do - The Game (Summer 09)
11.  American Boy - Estelle featuring Kanye West (bought my 1st Kanye West album in 08 - 808's and Heartbreaks)
12.  Aston Martin Music - Rick Ross featuring Drake - August last year Holiday with family after 2 years when my dad came back)
13.  Don't Hurt Yourself - Beyoncé (because #LEMONADE )
14.  Last Kiss - OverDoz (Love the song at present)
15.  The One - Kanye West (Calm)
16.  Lady in a New Dress - Kanye West (Calm)
17.  KAYTRANADA - GLOWED UP featuring Anderson Paak (New Music)
18.  Untitled 07 2014-2016 - Kendrick Lamar (calm)
19.  On & on - Erykah Badu (mums music inspiration)
20.  From time - Drake featuring Jhena Aiko (Calm)
21.  Freedom - Beyoncé (because #LEMONADE )

1. 
   

NOISELESS SPACE (Mixtape)

This is a musical interlude of instrumental music mixed by me.

1. Bevan - Tell Yourself ft. Elizawinkies
2. On-going Things - 20syl ft Odisee
3. Murder to excellence - Jay-Z and Kanye West
4. Illest motherfucker alive - Jay-Z and Kanye West
5. Superstar - Lupe Fiasco
6. Through the wire - Kanye West
7. Take care - Drake ft. Rhianna
8. What is love - V. Bozeman
9. The devil is a lie - Rick Ross featuring Jay-Z
10. Pt.2 – Kanye West
11. Get by - Talib Kweli
12. How We Do – The Game
13. Devil in a New Dress
14. American Boy – Estelle featuring Kanye West
15. Aston Martin Music - Rick Ross featuring Drake
16. Last kiss - OverDoz
17. The one - Kanye West, 2 chains Big Sean, Marsha Ambrosius
18. Lady in a New Dress – Kanye West
19. Goodies - Ciara
20. Untitled 07 2014-2016 – Kendrick Lamar
21. Freedom Interlude – Beyoncé

because.

Genre Analysis

D.I.Y. Generic analysis

The following questions are offered as basic guidelines for students analysing their coursework in relation to genre. This is a potential question in Section B of your summer examination. Note that an analysis of a text which is framed exclusively in terms of genre may be of limited usefulness. Generic analysis can also, of course, involve studying the genre more broadly. This is something we simply don't have time to do in class so you will need to spend time outside of class doing this (although you will hopefully have done lots of this when planning your production).

General

1. In what context did you encounter it? (web, film, TV etc) - I encountered the Hip Hop genre because I listen to Hip Hop and RnB music.
2. What influence do you think this context might have had on your interpretation of the text - As I only listen to RnB music and Hip Hop I have had s biased approach to choosing the genre of music which my media product was made around, as opposed to choosing a song which I have no interest in.
3. To what genre did you initially assign the text? - I initially assigned my text to the Hip Hop and RnB genre.
4. What is your experience of this genre? - My experience I have with this is that i listen to this genre of music in my spare time, while revising, on long journeys and for entertainment purposes.
5. What subject matter and basic themes is the text concerned with? - The main theme of my magazine product was white and black, but also with a clean crisp element to it.
6. How typical of the genre is this text in terms of content? - Quite typical as I made my photography subject where similar clothes to those who actually perform in the genre of music and are part of the music industry.
7. What expectations do you have about texts in this genre? - For me this genre is all about how the artists portray themselves through their music. They also like to express their feelings through their music; this could be by rapping and roasting other rappers/artist in the process.
8. Have you found any formal generic labels for this particular text (where)? - One Generic label which I found for this particular text is Hip Hop.
9. What generic labels have others given the same text? - Some of the generic labels which others have given the same text is urban, mainly 'black people music' or a style of Hip Hop.
10. Which conventions of the genre do you recognize in the text? - One convention which I followed in my text is the way that the artist dressed. This is because it is similar to the way that the real artist dresses. This helps to give my text more of a realistic look.
11. To what extent does this text stretch the conventions of its genre? - One way in which I think that my text stretches the conventions of traditional music magazines is that I created a simple classic magazine layout
12. Where and why does the text depart from the conventions of the genre? - I think that I have departed from conventions is that my magazine is not as 'busy' as other typical music magazine are. This means that I have simplified the layout so that the reader can concentrate on the main attractions of the magazine. One of the reasons I did this because I didn't found it attractive or visually appealing to pack a load of information on the cover and also the main pages of the magazine.
13. Which conventions seem more like those of a different genre (and which genre(s))? – I took inspiration from a style magazine rather than actual Hip Hop music magazine. I also placed a British Asian spin on it, in how I have combined RnB and Hip Hop into a curated magazine. The font style I used as well as simple and elegant which you don’t seem to expect from a Hip Hop music magazine.
14. What familiar motifs or images are used? -  To make my product stand out from the rest, the pictures I used were unusual as it was a picture of the artist pulling a face. This for me instantly grabs the attention of readers as it is different to normal artist portraits which have been featured on front covers of magazines.
15. Which of the formal/stylistic techniques employed are typical/untypical of the genre? - The clean/simple/and white layout which I chose to go with is typical of most magazines as it helps present the rest of the magazine professionally. It helps to focus the reader’s attention from the actual magazine (including the layout) to the content itself instead as it is white and not very interesting.
16. What institutional constraints are reflected in the form of the text? – I have no constraints when making this piece of work because I had freedom to make it how I wanted to.
17. What relationship to 'reality' does the text lay claims to? -  As I have used a white background and a simple black text on white layout it provides the media text with a professional look and also the pictures I used and the way that I have placed/used them provides the text with a realistic look to the magazine as a result of this.
18. Whose realities does it reflect? – A young British, black African city dweller.
19. What purposes does the genre serve? - It helps as it reflect current issues "Keep in mind when brothas start flexing the verbal skillz, it always reflects what's going on politically, socially, and economical/y." --Musician Davey D
20. In what ways are these purposes embodied in the text? – The purposes are embodied by the underlined theme excitement and ambition.
21. To what extent did your purposes match these when you engaged with the text? – I think that the way the I have create my magazine is innovative as I have created a new kind of style of music magazine which is good looking, elegant and yet delivers what the audience wants.
22. What ideological assumptions and values seem to be embedded in the text? – I feel like my text is innovative as I think that I have used my alternative perspective as a British Asian to put a spin on the text and therefore I consider it to be artistry in its own right.
23. What pleasures does this genre offer to you personally? -  When I listen to music I like the beat and the way which the artist rap or sing the lyrics.
24. What pleasures does the text appeal to (and how typical of the genre is this)? – One pleasure that the text appeal to is that people who like this type of music can relate to the actual artists and also can be associated with them which can help ones image as a person.
25. Did you feel 'critical or accepting, resisting or validating, casual or concentrated, apathetic or motivated' (and why)?
26. Which elements of the text seemed salient because of your knowledge of the genre? -  For me this was the front cover because it is the main attraction of my media product. It catches people’s attention due to the unusual that I used.
27. What predictions about events did your generic identification of the text lead to (and to what extent did these prove accurate)? – N/A
28. What inferences about people and their motivations did your genre identification give rise to (and how far were these confirmed)? -
29. How and why did your interpretation of the text differ from the interpretation of the same text by other people?  - One reason why my interpretation of my text differs from other people’s interpretations is that I like to think I was creative and innovative with my product, combing two types of magazine into one. I like to think that I put a British Asian spin on the product by using inspiration from a style magazine and a Music Hip Hop magazine. For me this quote "The making of the new and the re arranging of the old" by Bentley in 1997 says it all. This is because for me I think that creativity can be interpreted in different ways, by different people, it is not just an art form.

Mode of address

1. What sort of audience was your text aimed at (and how typical was this of the genre)? - My text was aimed at 16-24 year olds (male and female) and this is quite typical due to the genre. as they aim for a mature young adult but it can appeal to more people than this. 
2. How does the text address your classmates? - It address my classmates thorough picture and text 
3. What sort of person does it assume they are? -  Someone who prefers RnB and Hip Hop genre
4. What assumptions have you made about their class, age, gender and ethnicity? - They will be male and female between the ages of 16-24
5. What interests does it assume they have? - Interests in RnB and Hip Hop music and also knowledge of rappers and artists. Also interested in their lives.
6. What relevance does the text actually have for you? - How I would imagine a magazine created by me would look.
7. What knowledge does it take for granted? - It takes for granted that the audience have knowledge of the artist, the lyrics which are spoken and the instruments being played.
8. To what extent do you resemble the 'ideal reader' that the text seeks to position you as? - I have an interest in RnB and Hip Hop music and I am knowledgeable about the style of music which is produced, and the types of music which is influential on them.
9. Are there any notable shifts in the text's mode of address (and if so, what do they involve)? - No.
10. What responses does the text seem to expect from your audience? - That the audience has an interest in RnB and Hip Hop music.
11. How open to negotiation is their response (are they invited, instructed or coerced to respond in particular ways)? - It is as if the audience is instructed to respond in a particular way because it is purely a music magazine.
12. Is there any penalty for not responding in the expected ways (think in terms of enjoyment for the audience or consequences for the institution)? - No, because there is no purpose to the music magazine other than entertainment.
13. To what extent did people find themselves 'reading against the grain' of the text and the genre? – I assume that most people think that he is a typical rapper which had the ‘typical’ back story of ‘living rough,’ but that doesn't have to be the case.
14. Which attempts to position your audience in this text do they accept, reject or seek to negotiate (and why)? – I believe that the music magazine is up for negotiation as some conventions could be questionable.
15. How closely aligned is the way in which the text addresses you with the way in which the genre positions you (Kress 1988, 107)? – I feel that the music magazine matches the genre and the type of music that the artist mentioned, and the style of the artist very well. I also feel as though my artist who in pictures on the front cover is styled in such a way that it can be questioned about his musical career.

Relationship to other text

1. What intertextual references are there in the text you have created (and to what other texts)? - There are no intertextual references.  
2. Generically, which other texts does the text you created resemble most closely? - The Fader Magazine and Wired.
3. What key features are shared by these texts? - They are a Hip Hop music magazine/lifestyle magazine.
4. What major differences do you notice between them? - The style of writing which I have incorporated into the magazine and also the layout of the product, as it is more ‘sophisticated.’ 

1b. Topics

Themes of creativity

1. Is creativity an internal cognitive function, or is it an external social or cultural phenomenon? Both, creativity is the process at which your sub conscious analyses any useful ideas that you see or hear in an external environment. So the ideas themselves are a social or cultural phenomenon, but the thought process that leads to a final product is an internal cognitive function.

2. Is creativity a pervasive, ubiquitous feature of human activity, or a special faculty, either reserved for particular groups, individuals, or particular domains of activity, in particularly artistic activity? Creativity is like intelligence. it comes in all forms and is present in all areas of life.

3. Is creativity an inevitable social good, invariably progressive, harmonious and collaborative; or is it capable of disruption, political critique and dissent, and even anti-social outcomes? Creativity is neutral, it is simply a tool wielded and only gains either a positive or negative status when applied thusly by a person or persons.

4. What does the notion of creative teaching and learning imply? It implies that creativity is a skill that can be taught or simply practiced as a way of increasing creative ability.

credit goes to: that ginger kid that loves camera technology 📷 📹 🎥

   

Questions 1a and 1b (2010-2013)

In question 1a you need to write about your work for the Foundation Portfolio andAdvanced Portfolio units and you may refer to other media production work you have undertaken.

In question 1b you must write about one of your media productions.

January 2010

1a. Describe how you developed research and planning skills for media production and evaluate how these skills contributed to the creative decision making. Refer to a range of examples in your answer to show how your skills developed over time.

1b. Analyse media representation in one of your coursework productions.

June 2010

1a. Describe the ways in which your production work was informed by research into real media texts and how your ability to use such research for production developed over time.

1b. Analyse one of your coursework productions in relation to genre.

January 2011

1a. Describe how you developed your skills in the use of digital technology for media production and evaluate how these skills have contributed to your creative decision making. Refer to a range of examples in your answer to show how your skills developed over time.

1b. Apply theories of narrative to one of your coursework productions.

June 2011

1a. Explain how far your understanding of the conventions of existing media influenced the way you created your own media products. Refer to a range of examples in your answer to show how your skills developed over time.

1b. Analyse one of your coursework productions in relation to the concept of audience.

January 2012

1a. Describe how your analysis of the conventions of real media texts informed your own creative media practice. Refer to a range of examples in your answer to show how your skills developed over time.

1b. Analyse media representation in one of your coursework productions.

June 2012

1a. Descibe a range of creative decisions that you made in post-production and how these decisions made a difference to the final outcomes. Refer to a range of examples in your answer to show how your skills developed over time.

1b. Explain how meaning is constructed by the use of media language in one of your coursework productions.

January 2013

1a. Explain how your research and planning skills developed over time and contributed to your media production outcomes. Refer to a range of examples in your answer.

1b. Analyse one of your coursework productions in relation to the concept of narrative.

June 2013

1a. explain how your skills in the creative use of digital technology developed over time. Refer to a range of examples in your answer.

1b. Apply the concept of representation to one of your coursework productions.

1a Topics.

Example Question from OCR 1a

Ideas and theories to help you.

"A process needed for problem solving...not a special gift enjoyed by a few but a common ability possessed by most people" (Jones 1993)

"The making of the new and the re arranging of the old" (Bentley 1997)

"Creativity results from the interaction of a system composed of three elements: a culture that contains symbolic rules, a person who brings novelty into the symbolic domain, and a field of experts who recognise and validate the innovation." (Csikszentmihalyi 1996)

"There is no absolute judgement [on creativity] All judgements are comparisons of one thing with another." (Donald Larning)

Danger Mouse - Postmodern Artist Research

Post Modern Music Research Task

1. Energy – Drake (Hip-Hop, Pop- Rap)
2. On & on – Erykah Badu (R&B, Soul, Quiet storm)
3. Deserve it – big Sean (Hip-Hop)
4. It’s Good – Young Money (Hip-Hop)
5. Right Now – Mary j. Blige (R&B, Neo Soul, Hip Hop Soul)
6. Unforgettable – Drake (Hip-Hop, Pop- Rap)
7. Raster should be deeper – Junior Kelly (Reggae)
8. Moment – Lil Wayne (Hip-Hop)
9. All of the light interlude – Kanye West (Hip Hop)
10. Mercy.1 – Kanye West (Hip Hop)
11. On The Way – Wiz Khalifa (Hip-Hop)
12. Forever – Chris Brown (R&B, Pop, Dance, Hip Hop)
13. Hooked on a feeling – Blue Swede (Pop Rock)
14. I heard it through the grape vine – Marvin Gaye (Psychedelic Soul, Fuck, Jazz)
15. Dear Old Nicki – Nicki Minaj (EDM, Hip Hip, Pop)
16. Main Chick – Kid Ink (Hip-Hop)
17. Truffle Butter – Nicki Minaj (EDM, Hip Hip, Pop)
18. Smash Into You – Beyoncé (R&B, Pop)
19. Partition – Beyoncé (R&B, Pop)
20. Don’t Break it – Estelle (Reggae, Grime, Neo Soul, R&B)
21. Trouble – Jose James (Neo Soul, Hip Hop)
22. Each other – Kelly Rowland (R&B, Soul, Pop)

How can Django Unchained be viewed as a postmodern film?

I believe that post modernism is a reaction to modernism due to the social alienation and the needs to elevate everyone to improve standards. I think that post modernism is a contradiction of itself and therefore it is a paradox. It is a paradox because it rejects grand narratives and because there are no absolutes. This makes postmodernism undefinable due the mix match and the differences between post modernism and modernism. Some people criticise postmodernism for being too out there and often call it problematic, other people have said that it isn’t real as it only has a surface meaning. Fredrick Jamerson said that it is “nothing more than a series of self-references ‘jokes’ which no deeper meaning or purpose (ironically postmodernism don’t use their criticism as their purpose)”. This links to the idea of postmodernism contradicting itself because nothing is both good and bad. The term 'grand narrative' is built from politics, science, religion and genres. It was introduced by philosopher Jean-François Lyotard, he summed up a range of views which were being developed at the time, as a critique of the institutional and ideological forms of knowledge. 

The postmodern mashup that is Django Unchained, directed by Quentin Tarantino, contains different elements of postmodernism that I think stand out to an audience that can recognise the intertextual references that the film has featured as they understand the concepts of postmodernism. Tarantino took inspiration from many films as he paid homage to the texts and directors of those different forms of media. The text therefore can arguably be considered to be a mashup because those who understand the references to the others films will see the selection of work which he used in his film. Films such as Tarantino's Pulp Fiction, Resevoir Dogs and the Kill Bill franchise all pay homage to inspiration that Tarantino has extracted from other texts. The title 'Django Unchained' was created from inspiration provided from existing texts such as Django (1966), Hercules Unchained (1959) and Mandingo (1975). The of Django and Hercules Unchained helped to influence the name of Tarantino's film Django Unchained, but the film Mandingo, became inspiration for events that occur during the video. The idea of the ‘Mandingo fighting’ proves to be historically incorrect as there is no actual proof that this sort of fighting used to happen in the late 1890’s in America. But as a result of this it proves to the audience who look at the films from a surface point of view, that this sort of thing was the ‘norm’ in those times. The title Django is an example of meta because this is a self-referential text because in Django Unchained, the soundtrack in the opening and text used pays homage to the original 1966 version. It is clearly identified that Tarantino used a bricolage of existing materials to create the film.

The narrative to the film consists of an African American slave, Django, who accompanied a German bounty hunter, Dr. King Schultz who gave him freedom in order to search and be reunited with his wife, Broomhilda, by freeing her from enslavement from a plantation owner. The setting for the narrative was set 2 years before the outbreak of the American Civil War (1859). The film is a combination of spaghetti western, western. A spaghetti western film is considered a sub-genre to its larger counterpart, western genre. Spaghetti western films are generally low budget cowboy films that are directed by and Italian director, they include Italian and sometimes other European actors. These films are generally dubbed to into English after the production of the film regardless of the mismatch in visuals and sound.  This particular sub-genre of the western genre became successful during the 1960s after the success of Sergio Leone's style of filming became successful at the box office. Blaxploitation is an ethnic subgenre of the exploitation film. Blaxploitation films were originally made specifically for an urban black audience, but the genre's audience appeal soon broadened across racial and ethnic lines. A film example of Blaxploitation is Shaft (1971), where Richard Rowntree plays John Shaft who according to Tarantino, shares a relationship to Django's wife, Broomhilda Von Shaft. These two sub genres fall under the western genre. Here the genre is open to opportunities of adventure and heroism, two characteristics that can arguably be identified in Django Unchained. It was quite controversial to merge a Spagetti Western and a Blaxploitation as the intent was to make the film captivating to its audience by retelling American history during the civil war. The aesthetics include violence or extreme violence which s taken from spaghetti westerns, the settings have been taken from western and black dominance films. This combination is a remix which reflects the postmodern concept that is created using ac combination of modern and traditional techniques.

There are some key criticisms of the film given by critics. An example of a criticism provided by an audience was the over use of word ‘nigger’. Tarantino has been criticised for using the ‘nigger’ too much in his films Jackie Brown (1997), Pulp Fiction (1994). This word directly targets the African Americans that were featured in the film around the era in which the film was set. However, this word is still used in modern day society but can be put into different contexts. An example of the neglecting of slavery in the film appears when Django, Schultz and Candie travel towards the plantation known as Candie Land. Whilst heading towards the plantation, a stop is made where Candie confronts a slave who attempted to escape. By not complying with Candie's orders, the slave is killed by being gored by dogs. There was sympathy towards the slave as Schultz attempted to free the slave, but at the moment he became savaged by the dogs, the sympathy was reduced.

Historical deafness is another criticism in the film.  An example of historical deafness in the film is the type of language they used because we find the language which they use acceptable in time which we live in but back then when the film was set (1890’s) this sort of language was un common and therefore they Tarantino used it would have been unusual and would make sense. This causes some contradiction in the film industry. Contemporary artists such as Rick Ross and RZA are featured in the soundtrack for the film. The soundtrack used by composers that are from outside of the time set for the film. This shows that the soundtrack can be taken out of context.  These tracks can be viewed as low culture in the contrast of high culture of Beethoven. The idea of implementing this particular soundtrack is to again ensure that the film looks aesthetically captivating to the audience.

Lastly, the overused and obvious intertextual references used in Tarantino films isn't favoured by some critics. Fredric Jameson believes over-exposure in mass media means we can only recycle the conventions of earlier texts and never be original. The intertextual texts that Tarantino tries to implement are developed to make them slightly less noticeable to the audience. The concept of pastiche is formed by Tarantino through the use of references to previous films and TV drama. This has the impact of some critics assuming that there is reduced creativity applied to the film as there are a large number of intertextual references. I think that it is using people’s styles in a new way which is viewed in a different way as nothing is original and therefore content needs to be created by using other pieces of information. I truly believe that everything is a version of or used elements from another fragment of media.

Quentin Tarantino

1. He was a  ont                   Film-maker.
2. His work has a      -                as            c.
3. Mr Tarantino like a wide range of films, and he uses i t                     y to his own work.
4. You are drawn to vi            in his movies, as he finds it        ing. 
5. He uses the word            a lot in his films.
6. He has cultivated the image of Hollywood by being a bad boy     ec     .
7. The movie Django is Double-Coding because it is paying   o          to something that was paying        a    to something else. 
8. His characteristics match those of a        he              n.
9. He always aims to tell a           ical           vat     story. 
10. He pleases previous and current            on   through his work, as he likes both B and avant garde movies. 

Bricolage:

Taking items outside of context and bringing them together to create a new context. It is meant to be obvious. Bricolage is a French loanword that means the process of improvisation in a human endeavor. The word is derived from the French verb bricoler ("to tinker"), with the English term DIY ("Do-it-yourself") being the closest equivalent of the contemporary French usage.

Pastiche:

Someone attempting to copy and imitate the work of another artist/director but is very bad/weak/humorous. Rather than mocking the work it imitates, it tries to celebrate it. In terms of film, this can be done through camera angles, lighting and mise en scene.

Homage:

The showing and paying respect to someone or something in a artistic, poetic manner. Copying the style tells the audience that the director is paying homage to the original work and that the original work/artist is 'better'.

Parody:

The deliberate ironic and satiric imitation of an original work through the subject, author or style. It is the mocking of another ones production and practices. It is a mix of pastiche and burlesque (which fools around with the material of high literature and adapts it to low ends).

The Death of Uncool

Brian Eno 'The Death of Uncool' - Prospect Magazine, Nov 2009

It’s odd to think back on the time—not so long ago—when there were distinct stylistic trends, such as “this season’s colour” or “abstract expressionism” or “psychedelic music.” It seems we don’t think like that any more. There are just too many styles around, and they keep mutating too fast to assume that kind of dominance.

We’re living in a stylistic tropics. There’s a whole generation of people able to access almost anything from almost anywhere, and they don’t have the same localised stylistic sense that my generation grew up with. It’s all alive, all “now,” in an ever-expanding present, be it Hildegard of Bingen or a Bollywood soundtrack. The idea that something is uncool because it’s old or foreign has left the collective consciousness.

Django Unchained Post-Modernity

What is a western?
A nostalgic eulogy to the early days of the expansive, untamed American frontier (the borderline between civilization and the wilderness). They are one of the oldest, most enduring and flexible genres and one of the most characteristically American genres in their mythic origins.

What is a spaghetti western?
A broad subgenre of Western films that emerged in the mid-1960s in the wake of Sergio Leone's film-making style and international box-office success. Most of these western films are produced and directed by Italians.

What is a blaxploitation film?
An ethnic subgenre of the exploitation film. Blaxploitation films were originally made specifically for an urban black audience, but the genre's audience appeal soon broadened across racial and ethnic lines.

Which THREE films does Django Unchained take its name from?
Django, Mandingo, The Great Silence

Why does Franco Nero appear in the film and what is the significance of his dialogue with Jamie Foxx?
Franco Nero made his cameo in the film and is seen wearing white gloves. This may be a reference to his wounds in the original Django film. However, this should not be seen as him being the same character in both movies, as Django (1966) takes place in the 1870s and Django Unchained (2012) takes place before that, in the 1850s.

What song plays over the final credits and how does this film connect to the original film Django?
Trinity (Titoli) by Annibale E I Cantori Moderni

Which other song from Django features in Django Unchained?
Django by Luis Bacalov and Rocky Roberts.

Who or what is Mr Ed?
Mr Ed was a TV show and is a horse in the show. The concept is that the horse has the ability to talk to its owner Wilbur Post, but cannot to anyone else. The Mister Ed show concept was derived from a series of short stories by children's author Walter R Brooks.

What is the significance of the red mask worn by Zoe Bell as Django murders the killers of d’Artagnan?
Bell seems to hold no grudges, and was reluctant to share too many details, as she didn't want to displease her director. But she did go on to explain that her red scarf wasn't just a fashion choice, "There was a little sneaky secret under the mask: part of my face was missing." 

The name of the saloon in which Schultz and Django drink is called Minnesota Clay, why?
Minnesota Clay, is a 1965 Italian / French/ Spanish international co-production spaghetti western directed by Sergio Corbucci.

Who is Ennio Morricone?
An Italian composer, orchestrator and conductor.  He composes a wide range of music styles, making him one of the most versatile, experimental and influential composers of all time, working in any medium. 

What connects him to both Django Unchained and director Sergio Corbucci?
Ennio Morricone wrote music for both adaptions of the film, Django (1996) and Django Unchained.

What sequence has made the 1903 film "The Great Train Robbery" so iconic?
One of the wanted posters calls for the apprehension of Edwin Porter for train robbery. Edwin Porter was the filmmaker who directed The Great Train Robbery.

What is the significance of the name Von Shaft?
‘Broomhilda von Shaft’, a play on the more accurate Brunnhilde von Schaft, is a name Hildi’s German owners – the von Schafts – gave her, and as Schultz explains, it comes from a popular German legend about a hero who must rescue his damsel in distress. I think we can all guess at what her last name alludes to.

What TV western does Django's western style outfit pay homage to?
Little John from the NBC western series, Bonanza (1959 to 1973).

Buck and the Preacher

Charley One Eye 

Nigger Charley

Boss Nigger