Quentin Tarantino's Film Pulp Fiction

The classical Hollywood narrative is one of simplicity, linear continuity, and comprehensive storytelling, something typical American audiences were used to for most of films history. Quentin Tarantino, however, is not one to abide by the rules of cinema. The arguably auteur director reconfigures this narrative style with his 1994 classic Pulp Fiction. This film not only presented itself as a completely new and innovative take on what a film could be, but also created a foundation for which many films since have built their narratives from.

Should a dish of revenge be served at all? Kill Bill is a two-part martial arts-action film written and directed by Quentin Tarantino. The electrifying film presents a tale of justice, revenge, and redemption.

Q. Tarantino's Use of Different Film Elements in Kill Bill and Pulp Fiction Quentin Tarantino has used the lightning, colour, sound, camera, mise-en-scene, iconography, speed of editing and special effects in Kill Bill and Pulp Fiction to make the audience want to carry on watching. These film elements have been used very effectively by the director in the openings of both films to build audience interest. The first aspect – lightning was very helpful in building interest in Kill Bill. The opening scene of Kill Bill is in black and white.

Since the 1990’s Quentin Tarantino has been viewed as one of the most iconic directors of modern cinema. His most praised scenes are always his combat scenes, or the finals scenes of each film. While there are plenty of good combat scenes in each Quentin Tarantino film, the Showdown at House of Blue Leaves scene from Kill Bill Vol. 1 (2003) is by far the most beautiful and impactful. Kill Bill Vol. 1 follows an female ex-assassin- The Bride - on a brutal

films such as Malcolm X, Jungle Fever, Inside Man and Love & Basketball. Spike Lee was born in Atlanta, Georgia where he attended Morehouse College and made his first

“That our feet may swiftly carry out thy command so we shall flow the river forth to thee, and teeming with souls shall it ever be”. Forbidden to be repeated by anyone who is not a McManus, Connor and Murphy allow the family prayer to roll off their tongues, and journey into the ears of the monstrous souls they are about to exterminate. Their religious belief nourishes the idea that they can make the streets of Boston good. The Boondock Saints is a movie about religion, family, and vigilante justice.

Notably, the film Goodfellas is a classic film that is recognized as one of the greatest films of all time in regards to the crime genre. Indeed, the film Goodfellas is about American citizens who partake in criminal activity in order to make money. Furthermore, another film was made, shortly after Goodfellas achieved great success in the box office. Additionally, another film titled “The Real Goodfella” is the uncensored documentary explaining the reality behind Goodfellas, and gives a practical insight of the real dangers that could not be shown in Goodfellas. Also there are two articles that explain the explicit truth behind the criminal activity that mobsters justify as work. These sources show that mobsters have a hard time. Mobsters classify as above working class because they constantly have to steal, murder, and deal drugs just to stay alive and have money.

Kill Bill: Vol 1. (2003) is a film directed by, the famous, Quentin Tarantino. From start to finish, it is packed with action and excitement. This movie has a plethora of interesting elements. Yet the cinematography of Kill Boll: Vol 1. is one that makes history. Not only does it have camera angles unlike any others shown in a normal film, but it keeps the audiences’ attention. The unique choice of music adds originality to the film. For a movie with such a serious storyline, the music involved is quite quirky. Some would even say childish. Anyone who has seen a movie directed by Quentin Tarantino before will understand that adjustments like this are a reflection of his style. All of his work reveals that.

Emrose Bhalesha Critical Summary Paper: Pulp Fiction Mark Conrad examines the movie, “Pulp fiction” written and directed by Quentin Tarantino by looking at the metaphysical quirks lurking within the film through the use of character transformation and comedic dialogue. Conrad argues that this film’s intention is to describe the loss of value and meaning in people’s lives, specifically American nihilism. He introduces the article by explaining nihilism to the reader and then explains the term in a biblical sense, he claims that once the “…moral code is lost and not replaced, we are faced with the abyss of nihilism: darkness closes in on us, and nothing is of any real value any more; there is no real meaning in our lives. ”(Conrad). He describes

In the film Pulp Fiction, Quentin Tarantino creates a nonlinear plot by writing several scenes out of order to create a film that ultimately assembles into a comprehensive and exciting conclusion. He does this by delivering an important briefcase to the protagonist’s boss. The briefcase acts as a McGuffin, or a device/thing that’s sole purpose is to push the plot along. As a result, the movie is split up into three different stories, which on their own could not be long enough for a movie, but when put together, they make a full-length feature film. Tarantino also manages to add small chunks of symbolism in a majority of the scenes in his movie. Therefore, with Tarantino’s unconventional approach to developing plot lines and devices to move

Kill Bill vol. 1 (2003) and vol. 2 (2004) shows all of Tarantino's obsessions : kung-fu fighting, spaghetti westerns, beautiful and murderous women with weapons. The Showdown At The House Of Blue Leaves scene is one of the most impressive fights in Tarantino's movie verse. There is everything there; carnage, rage, blood oozing from the screen, limbs falling around, villains either dead or pathetically crawling away and running around terrifying bystanders. Uma Thurman, clad in yellow leather with her sword, is standing in the middle of this mayhem triumphantly.

The trailer for Kill Bill: Vol. 1 (2003), the fourth film directed by Quentin Tarantino, is a fast paced, violent, and action packed trailer that pays homage to Japanese sword fighting, martial arts, and gunplay. The main character known as The Bride (Uma Thurman), is a former assassin whose former lover, Bill (David Carradine) attempted to kill her on her wedding day. After waking up from a coma, The Bride begins to tell her story about how she was attacked by the Deadly Viper Assassination Squad, which she was once a part of, while pregnant. The trailer begins with the "click" sound of a revolver 's hammer being pulled back, and then firing. The camera is then positioned behind The Bride 's butt, as she begins to narrate her story. Frames of the bullet are shown as she talks, until it hits its victim - The Bride. She hits the floor in her wedding gown, after being shot in the head. A montage of violent sequences that start in an average suburban neighborhood, where she fights Vernita Green (Vivica A. Fox) in her own home, and leads to a Tokyo nightclub bloodbath, where she fights yakuza boss O-Ren Ishii (Lucy Liu). Contrary to your average movie trailer involving action and violence, the perpetrators of these violent acts are the female characters, instead of the male characters. The protagonist is on a path of retribution against the assassins who crashed her wedding and attempted to kill her, but despite the fact that there is a male member of the Deadly Viper

Quentin Tarantino’s American crime film “Pulp Fiction” is organized through three separate but interrelated storylines. There is one story that constructed by three distinct stories. At the beginning of the sequences, titles are shown on the black screen which provides a recognizable source for narration.The first story-Vincent Vega and Marsellus Wallace’s wife- is about Vincent Vega (John Travolta) who is responsible for spending time with his boss Marsellus Wallace’s wife, Mia (Uma Thurman). The second story -The Gold Watch- is about the espace of prizefighter Butch (Bruce Willis) from Marsellus Wallace (Ving Rhames).

This is because no matter what the film is, they all have the same or similar plot structure. All of his movies are organized in chapters, which are often discontinuous. These discontinuous films such as Reservoir Dogs, Pulp Fiction, Kill Bill and The H8teful 8 fall into a “non-linear narrative” format. To be specific, the film will start at a point towards the end or middle of the story and flash forward to an earlier moment. In Pulp Fiction, the plot is all over the place. The story begins towards the end of the plot, then rewinds past significant events, which are covered later in the movie. I’m not sure if I worded that well because I’m not great at describing visual arts with words, but if you have seen Pulp Fiction, you know exactly what I am talking about. This is done to trigger confusion and curiosity among the

Pastiche used in film is generally incorporated to create a nostalgic tone. However this is not the case with ‘Pulp Fiction’ as the strategy is used to pay homage and show appreciation towards 1950’s pulp fiction texts and influential films. Tarantino alludes to various aspects, techniques and scenes from other Hollywood movies into his own. Tarantino stated, “I always hope that if one million people see my movie, they see one million different movies” . Elements from Hollywood movies such as weapons, costumes, camera angles, themes and famous scenes are injected into ‘Pulp Fiction’. His film blurs the line between cinematic styles and genres. Intertextuality is a significant factor within Tarantino’s work, as by reinventing the old he is able to preserve originality and create a sense of dimension within his work. Tarantino refers to ‘Pulp Fiction’ not as a movie but as multiple movies. An example of pastiche within the film is present in the scene in which Marcellus Wallace coincidentally recognises Butch in his car while walking across the street. This action mimics the scene from Alfred Hitchcock’s “Psycho” where Marion’s boss recognises her as he crosses at traffic lights. Through this pastiche Tarantino is able to show his appreciation and influence of Hitchcock’s infamous films while also applying the scene in a postmodern context. Another occurrence of pastiche appears in Butches weapon of choice; a baseball bat and chainsaw. These weapons of choice pay homage to the films ‘Walking Tall’ and ‘Texas Chainsaw Massacre’