Quentin Tarantino is one of the most recognizable directors alive today and one of the most influential during the 1990’s to 2010s’s. The passion he poured into his films garnered worldwide acclaim and recognition. He has won two Oscars for best writing and original screenplay and been nominated for best director twice. His films are generally characterized by two aspects: excellent dialogue and masterfully edited scenes. Two of his masterpieces are Pulp Fiction (1994) and Inglorious Basterds (2009). In Pulp Fiction, I have chosen the excerpt from when the pawn shop owner enters the back room to just before Julius calls Jimmy (1:42:09-1:56:37,) and from Inglorious Basterds, I have chosen from the title ‘Chapter Five: Revenge of the Giant Face’ to when Colonel Landa bids the Basterds impersonating Italian cameramen farewell (1:45:43-1:55:10) to analyse. Tarantino is an undeniable auteur, creating worlds that could exist in our own, enabling his audiences to be emersed in stories far more intresting than our own mundane lives. Through his excellent direction, the films draw attention to the cheapness of life and society’s desensitised attitude towards violence. One of the many aspects of film that Tarantino excels at is dialogue. In the film Inglorious Basterds, Tarantino explores suspense and tension with a variety of tools, foremost among them, the use of dialogue to immerse the viewer in the suspense of the film. In the excerpt from Inglorious Basterds, while
Quentin Tarantino’s movies are best known for their disjointed narratives and romanticized depictions of violence. Django Unchained is no exception. However, Django Unchained does provide an interesting example of how thoughtful approaches to diegetic and non-diegetic sounds, the narrative frame, and a character’s point of view can keep an audience interested for over 2 hours of runtime.
Tarantino is an auteur that is notorious for his use of violence, remarkable dialogue, and his manipulative use of different camera angles and shots. Quentin Tarantino movies are infamous for their use of violence. The violence in his
Starting off with a Lighter tone the Critic A. O. Scott, writing for the New York Times, had Found the film to be a delight. He focused on the entertainment that the film provided to the viewer and the continued joy that one may feel after the fact. Scott’s Review scraped the top of the barrel he represents the majority of people of whom merely enter the theater to lose themselves in the story and perhaps forget something in the process. Scott praises the film for its dark comedy and use of gore that both enthralled and revolted his senses. “It may seem strange that I am praising a work of such unremitting savagery. I confess that I’m a little startled myself, but it’s
Paramount themes of violence and extensive uses of graphic imagery are imperative motifs in the classic films, A Clockwork Orange and Bonnie and Clyde. Comparably, these two films use the element of violence to add insight to characters, environment, and further evoke emotions from audiences alike. Directors Stanley Kubrick and Arthur Penn began to push the boundaries of what is deemed acceptable in the film industry by introducing unprecedented levels of graphic content and directional methods of displaying such. On one hand, A Clockwork Orange was released to American audiences under an “X” rating due to its brash depictions of violence, rape, sex, and crude language (Thrawn, “Clockwork Orange the X Rating”). Regardless, Kubrick chose to include the entirety of what was described in the novella due to its integral part in shaping the dystopian environment and main character Alex McDowell. Narrations of our protagonist's innermost thoughts accompanied by the true colors of his actions aides in building a complete understanding of societal and personal morals. Bonnie and Clyde similarly uses the harsh reality of violence as a tool to help set the overall tone of the film. The story of famous outlaws, Bonnie and Clyde, is glorified as well as equally condemned through graphic and bloody shootouts where they can be seen ruthlessly taking the lives of innocent people. The choice to amplify the intensity of violence in this movie is cohesive in laying the framework for character values within the two and creates a much more dramatic depiction of the infamous crimes that took place in the 30’s. Throughout both of these films, audiences are given the raw imagery necessary to create accurate and theatrical depictions of our characters actions that define their personalities and surroundings.
The movie that this paper is written about is known as ‘Kill Bill’. This movie is a violent story of a woman on a path of revenge. Beaten down and shot to pieces putting her into a coma, she was left for dead, only to awaken two years later to hunt down those who tried to kill her. Now both Kill Bill volumes one and two will be referenced in this paper. Though the assignment was for one movie, the story arc procession through both movies would be incomplete with only one half being told. Like any story in life, it is the individual who decides what is important and how to view it, with that being said this paper is from but one point of view.
The movies Infernal Affairs (2002, directed by Andrew Lau) and The Departed (2006, directed by Martin Scorsese), the latter being an adaptation of the former, are surprisingly similar films overall. The discrepancies between the two motion pictures are only easily seen when analyzing the difference in the narrative, plot and cinematography used within each film, while taking into account the influences of the differing cultures that the two films were created in (i.e. location of creation). Due to the differing locales: China (Hong Kong) for Infernal Affairs and the United States (Boston) for The Departed, the unique and different cultures influenced the modification that took place in the adaptation from the former into the latter. The difference
Each of these movies either invert or corrupt the image of Hollywood and “the Industry” creating a unique audiovisual experience, in an environment familiar to those who work in the industry, and the audience that watches and follows.
Pulp Fiction, directed by Quentin Tarantino in 1994, is a movie made of various storylines consisting of two hit men, a boxer, a mob boss’s wife, and a pair of bandits, which are interwoven, in a nonlinear fashion in four tales of violence and dark comedy. The movie opens up with a still frame of the dictionary definition of the word ‘Pulp.’ It is clear that the second definition is more relevant to the topic of the movie and sets up the tone for the coming feature. The definition is faded onto and out of the screen with no sound, indicating that Tarantino wants it to be kept in mind throughout the film. The first scene begins In medias res with a medium shot of a couple eating and having a conversation at a diner.
For my micro analysis I have chosen Terry Gilliam’s Fear and Loathing in Las Vegas (US, 1998). It is a niche film, and while initially a commercial failure, quickly developed cult status. It is a black comedy set in the 1960s, and revolves around the protagonist Raoul Duke and his helper Dr. Gonzo’s adventures in Las Vegas, as they traverse the city in a drug-induced haze. The sequence I will be looking at in this essay is the carnival scene [31:30-38:03], which takes place in the second act of the film.
Throughout the many years the film industry has grown, a certain type of filmmaker immerged, known as an auteur. An auteur, usually a director, has a strong personal style and exercises creative control over his or her works. Quentin Tarentino, for example, has proven himself to be an auteur in various ways. Quentin Tarentino worked for four years as a clerk in a Los Angeles video store, where he made his feature directorial and screenwriting debut of Reservoir Dogs, and where he further expanded his great knowledge of film. Tarentino’s personal style incorporates a lot of well thought out violence, swearing, repetitive casting, and many other filming techniques. In looking at Reservoir Dogs, Jackie Brown, and
The Departed, a film written by William Monahan, Alan Mak, and Felix Chong, directed by Martin Scorsese, was in my opinion a spectacular crime-thriller deserving of less criticism from overly sentimental viewers. Though this film is in some scenes brutal and vicious, I praise Martin Scorsese’s refusal to cower away from the undeniable truth that organized crime in the United States is murderous in nature just to satisfy certain viewers as critics advocated he should. Being a four time Oscar winning film with sixty-three other awards for numerous aspects in the movie industry, I don’t believe anyone can contradict that The Departed is profoundly unforgettable to masses of moviegoers.
The movies that Tarantino makes are not just violent, but have a great storyline, which he writes. His most famous movies include: Reservoir Dogs, Pulp Fiction, From Dusk Till Dawn, Kill Bill Vol. 1 & 2, and the newest one, Inglourious Basterds (IMDb). Other, less famous ones are: Jackie Brown and Grindhouse (a double-feature consisting of Planet Terror, and Death Proof) (IMDb). To this day, people still talk about how great of a movie Pulp Fiction is. These movies are well known for their graphic violence, and sometimes profanity.
Quentin Tarantino’s 2009 film Inglourious Bastards entails a Jewish revenge fantasy that is told through a counterfactual history of events in World War II. However, this story follows a completely different plot than what we are currently familiar with. Within these circumstances, audiences now question the very ideas and arguments that are often associated with World War II. We believe that Inglourious Basterds is a Jewish revenge fantasy that forces us to rethink our previous understandings by disrupting the viewers sense of content and nature in the history of World War II. Within this thesis, this paper will cover the Jewish lens vs. American lens, counter-plots with-in the film, ignored social undercurrents, and the idea that nobody
The film Pulp Fiction was an immediate box office success when it was released in 1994 and it was also well received by the critics, and celebrated for the way it appeared to capture exactly a certain pre-millennial angst and dislocation in Western capitalist societies. The term post-modernist, often used to refer to art and architecture, was applied to this film. The pulp fiction refers to popular novels which are bought in large numbers by less well educated people and enjoyed for their entertainment value. The implication is that the film concerns topics of interest to this low culture, but as this essay will show, in fact, the title is ironic and the film is a very intellectual presentation of issues at the heart of contemporary
There is no straightforward answer when one asks the question of: “What exactly makes a great director?”. The truth is that it can be an array of different factors, from the director having a distinctive or original way of shooting scene, to him or her having a well-written script. But what separates a great director from an iconic one, is how their films inspires not only the current, but also the new generation of filmmakers. The well-known Quentin Tarantino is one of those iconic directors. Born Quentin Jerome Tarantino on 27 March, 1963, he is arguably one of the most famous/influential modern directors of our generation to such an extent, that his name alone can sell a movie. Just as recognisable as his name, is his directing. Renowned