In Kill Bill Vol. 2, Esteban Vihaio, one of Bill's many father figures, tells Beatrix Kiddo about one time when he took the 5-years old Bill to the cinema to watch The Postman Always Rings Twice starring Lana Turner. Compulsively sucking his thumb whenever Turner would appear on the screen, Vihaio knew that Bill was a "fool for blonds . Quentin Tarantino tells a similar story of his first true exposure to Blaxploitation movies. In an interview, he narrates how once his mother's boyfriend took him to Downtown LA and he watched Bad Gunn starring Brenda Sykes, "the prettiest woman in Blaxploitations  as he describes. With such a similar approach in mind, one can see Tarantino's "foulness  for Blaxploitation movies as he grew up in the cinematic world to continue mimicking them using his own twists. His mimic can be clearly detected in his movies throughout his female figures always associated with blackness and illustrating an example of "black-white alliance  as Crouch puts it. These women are usually powerful, threatening, and presented as capable of castrating. By analyzing the women figures Jackie Brown, Death Proof, Kill Bill and Inglorious Bastards, I will show how Tarantino tends to associate himself with his female protagonists that get more and more powerful with every movie of his. I will then set Harmony Korine's Spring Breakers as a comparison showing different figures of women's empowerment. To analyze Tarantino's movies, one should start with True Romance as Crouch suggests. The empowered female figure resonated in this movie with the character of Alabama. Presenting a different prototype from the all mouth woman, which is very common in a Jewish-dominated Hollywood, Alabama is an "updated frontier woman  whose strength was not taken away in favor of urbanization. Both Pai Mei in Kill Bill Vol.2 and Bridget von Hammersmark (Diane Cruger) in Inglorious Bastards allude to the common prototype that white women of the city's only concern is to order in restaurants and to spend their men's money. A black woman on the other hand is seen to have a natural tendency to take actions with her own hands as she was "toughened by slavery . What Tarantino does in his movies is that he presents the powerful white woman as toughened by brutal means in a similar manner to slavery. These women that appear in a similar manner to superheroes have the traditional woman role, the mother, as an alter ego. Bringing up Bill's monologue on Superman, this traditional role is the mask that these women put on to blend in; this mask is their Clark Kent, which is a "critique on the whole human race . As Paul Gormley states paraphrasing Judith Butler, the norm in cinema is for images of black male bodies to provoke a response "couched in an immediate fear, anxiety and paranoia around the imagined primitivism, violence and authenticity of the masculine black body . Tarantino tries to shift this type of image to the female character. Even if the paradigms of these women did not appear on the screen, they are put forward in men's conversations. Reservoir Dogs is Tarantino's all-men movie except for one woman who shoots the undercover cop, Orange, as he tries to take over her car with Mr. White. Other than that, women are spoken of, and specially in the car scene when is telling the other men about Lady E, a black waitress in one of his father's clubs from Ladera Heights, "the black Palos Verdes , and he calls her a man-eater-upper. Castration is alluded to when Lady E glues her husband's penis to his stomach. Lady E is compared to Christie Love who is the TV shows version of Pam Grier. This constitutes one of the many references Tarantino makes to pop culture, and in this character it is a black female cop from a Blaxploitation TV series. These white men in the car who appear racists throughout the movie show at this point an attraction and even appreciation of black women. They even acknowledge a black women's power and contrast her to a white woman who, using Tarantino's terminology, would stand a man's shit. Following a chronological order in the movie, this comes a couple of hours or even minutes before a white blond woman shoots Mr. Orange as he heisted her car. In this movie, Tarantino also brings up the double notion of being black as represented in Blaxploitation movies, which is either that of murder and assault or that of coolness and hipness. When Mr. Blond goes out of prison, Eddie justifies Blond's talk about murder and violence as that of a "nigger . In the same scene, Joe Cabot, Eddie's father and the head of the gang, tell his son and Blond after he ceases their fighting that they were acting like a bunch of "niggers  always saying they are going to kill each other. In a later scene the movie, while Cabot is assigning a name color for each