Introduction: truth, history, and counterdisciplinary practices in film studies -- Terrible beauties: messianic time and the image of social redemption in James Cameron's Titanic. True lies -- Dream ship -- Sublime terror -- Infinite history: Martin Scorsese's Gangs of New York and the production of the inexistent. Color of money -- The gangster and the priest -- Amsterdam and New York -- Spectacles of fearsome acts -- The event no one sees -- Infinite history -- "No dreaming, no story, nothing": Baz Luhrmann's Australia, the cinematic common, and postcolonial discourse. Aboriginal reality show -- Logic of the common -- Utopia, dystopia, and disutopia -- Love of the common -- Conclusion: the glorious truth about inglorious history in Quentin Tarantino's Inglourious basterds.
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