Postmodernism in Pulp Fiction

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 western culture and philosophy.

Ten years before Tarantino made Pulp Fiction, the academic and critic Frederic Jameson identified some of the key features of postmodernism, and debated whether these were a true departure from modernism, or just a continuation of the same rebellious themes. His paper on postmodernism tends towards the latter view, but at the same time prophetically pinpointed the essential departures that postmodernism has made from what has gone before. Tarantino’s film does not continue the debate in an academic way, but instead presents a virtuoso visual performance of the ideas that Jameson could only dimly perceive. These ideas include pastiche, a crisis in historicity and a blurring of the distinction between high culture and low culture.

One way that Tarantino uses pastiche is when he introduces very evocative settings, like for example the restaurant setting of Jackrabbit Slim’s Diner. The décor is flamboyantly 1950s style, which is not in keeping with the more modern sett...

... middle of paper ...

...ch as time, dates, and the exact relationships between the different characters are is not spelled out. This active involvement of the viewer is necessary for the work of art to stand on its own. This takes the challenge thrown out by modernists to reject easy conventions and make new ones, and pushes it further to the point where conventions become a joke. Those who understand the references get the joke, and this creates a new kind of meaning beyond the surface meaning of the narrative.

In conclusion it is clear that Tarantino’s film is postmodern, and Jameson’s insightful essay stands in relation to Pulp Fiction much in the same way as a prophecy stands in relation to its fulfilment. The postmodernist Tarantino expresses in a full and technicolour form what Jameson the modernist had only partially understood in the more static arts of painting and architecture.