Plate 1: Tarantino’s vision of a proto-KKK, imbued with the fury of Verdi’s Dies irae. More about this image found in Tarantino’s vision of a proto-KKK, imbued with the fury of Verdi’s Dies ira...

Plate 2: Django makes his action hero debut. More about this image found in Django makes his action hero debut.

Plate 3: Schultz’s reverie is interrupted by horrific memories of D’Artagnan’s death, leading to his outburst against playing Beethoven. More about this image found in Schultz’s reverie is interrupted by horrific memories of D’Artagnan’s death...

Plate 1: Figures from Parisian street life in a theater photograph from the original Opéra-Comique production of Louise . Source: Gallica, Bibliothèque nationale de France. More about this image found in Figures from Parisian street life in a theater photograph from the original...

Plate 2: The carrot seller in a still from Abel Gance’s Louise . More about this image found in The carrot seller in a still from Abel Gance’s Louise .

Plates 1–3: Posters for Tár promoted genre slippage and support Field’s intention to create a film that was “open to interpretation.” More about this image found in Posters for Tár promoted genre slippage and support Field’s intention to ...

Plates 4–5: The auteur as melomane . In addition to the soundtrack, Field also created a “concept album” and directed the music video “Mortar,” which featured a cue Hildur Guðnadóttir wrote for Tár . More about this image found in The auteur as melomane . In addition to the soundtrack, Field also created...

Plates 6–8: Tár stops the rehearsal of the Adagietto movement of Mahler’s Fifth Symphony to instruct her orchestra not to think of Visconti’s Death in Venice (1971). Visconti scored his picture with multiple excerpts from the Adagietto including the film’s final, dialogue-less scene on the bea... More about this image found in Tár stops the rehearsal of the Adagietto movement of Mahler’s Fifth Symphon...