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. It
was originally coloured but the critics have decided that the blood
which appears in this scene is too offensive and have censored it. The
best way to make the blood ‘less visible’ without remaking the
beginning of the film was to use black and white. It has a dramatic
and disturbing effect on the audience because of the negative
atmosphere the scene gets them into – the audience feels danger,
suspense. In the opening scene lightning has been used to characterise
the woman. The light is natural; it comes from the windows in the
church where the scene is set. The woman’s face is half lit but the
other half is black. This was probably shown to symbolise her two
sides: good and bad. It gives the audience an insight into the woman’s
character – it tells them that she does have an evil side. At this
point the audience might have a good reason to keep on watching – to
find out those two sides of the woman they have just met.
The first scene of Kill Bill confronts the audience’s idea on what
wedding should look like. The woman, which is heavily beaten up is
wearing...
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... it interesting, full of iconography, dynamic effects, original sound
etc. the director built himself a great tool for keeping the audience
until the whole plot is justified. A non-linear plot is also ‘unique’
to films directed by Quentin Tarantino, by whom this style has been
developed.
If I was Quentin Tarantino, I would call my new film ‘Contradiction’.
I think that it would fit the ‘Tarantino style’ of things in the wrong
order. It links with the theme of paradox, for example one thing
denies another, but that other thing seems true. The same can be
spotted in Tarantino films – the end is at the beginning and the
beginning at the end, so what is the beginning and what is the end in
reality? Although the narrative is non-linear, in Tarantino’s films
there is always a clear key, consequence that justifies the plot.
In the short story “Where is Here” by Joyce Carol Oats the stranger discusses the idea of infinity. Infinity is an abstract concept that something is without a beginning or ending. The stranger gives three examples of this idea. All three can be represented of a different type of infinity.
Analysis of the Ways the Director Builds Suspense in the Opening to the Film Jaws
The auteur theory is a view on filmmaking that consists of three equally important premises: technical competence, interior meaning, and personal signature of the director. Auteur is a French word for author. The auteur theory was developed by Andrew Sarris, a well-known American film critic. Technical competence of the Auteur deals with how the director films the movie in their own style. Personal signature includes recurring themes that are present within the director’s line of work with characteristics of style, which serve as a signature. The third and ultimate premise of the Auteur theory is the interior meaning which is basically the main theme behind the film.
Genre and Narrative Establishment in the Opening of Pulp Fiction, The Krays and Goodfellas In this piece of coursework I am going to study, compare and evaluate three films in order to show how the genre and narrative are established in the opening five minutes of each. The three films I have chosen to study are 'Pulp Fiction', 'The Krays' and 'Goodfellas'. Pulp Fiction was released in 1995, it was written and directed by Quentin Tarantino and was star studded with the likes of John Travolta (Vincent Vega), Uma Thurman (Mia Wallace), Samuel L Jackson (Jules) and Bruce Willis (Butch). Pulp Fiction has a non-linear narrative; the film follows Vincent's life and the scenarios he transpires within just a few days.
Can you recall the very last night that you spent with your high school buddies before packing your bags and leaving for college? The films American Graffiti and Dazed and Confused bring you back to that through the recreation of those great experiences. American Graffiti is based on a closely-knit group of teenagers who will all be leaving each other the next day for new adventures. This gang of teenagers, despite their differences, all goes out together and share their last memorable evening. Throughout the night, friendships are strengthened, conflicting struggles arise, and romances are created and disrupted. Dazed and Confused dealt about life during wartime – the wartime of high school, where the faculty is irrational, the parents are
...ing. The end is where we start from. We die with the dying: See, they depart, and bring us with them. We shall not cease from exploration and the end of all our exploring will be to arrive where we started and know the place for the first time” (326).
Analysis of the Opening Sequences of John Carpenter’s Halloween (1978) and Wes Craven’s Scream (1996)
Quentin Tarantino’s Pulp Fiction is one of the most daring, puzzling, and ultimately exciting pieces of cinema to hit the screen in years. As wholly original as it is a copy of hundreds of films before it about tales of hit-men and criminals, it dares you to step out of the dull and enter a colorful, exhilarating world that could only be Los Angeles. The intensity level of the movie is off the scale. People are laughing like crazy in the theater to the intelligent dialog and other scenes that have the audience gasping for air in shock over what just happened. Although one might say that Pulp Fiction is overly violent and disturbing, it is in fact, one of the greatest movies ever produced. Quentin Tarantino’s incredible screenplay, the intensity of the actors, and music to set the mood, created movie worthy five stars.
Quentin Tarantino has proven time and time again to be one of the most confusing directors to understand when attempting to unravel the personal ideologies in his films. Each of his films deals with race, sexuality, and gender to some extent, and it is often difficult to know whether or not Tarantino is making a commentary on these things or if he truly believes much of the problematic discourse found in his films. Kill Bill Vol. 1 and 2 are a testament to this understanding of Tarantino’s films, as they appear to be extremely feminist films at surface level yet, upon deeper inspection, have some very problematic qualities. Looking at Kill Bill Vol.’s 1 and 2 through both a feminist and anti feminist lens can allow the audience to better
"Mrs. Robinson, you are trying to seduce me," says Benjamin Braddock (Dustin Hoffman). The Graduate, directed by Mike Nichols in 1967 is an influential satire/comedy film about a recent East Coast college graduated who finds himself alienated and aimless in the changing, social and sexual general public of the 1960s, and questioning the values of society. The theme of the film is of an innocent and confused youth who is exploited, mis-directed, seduced (literally and figuratively) and betrayed by a corrupt, self-indulgent, and discredited older generation (that finds stability in “plastics”) that I found to be quite clear and understanding, while also capturing the real spirit of the times and allows America's youth to perceive onscreen an image of themselves which they can both identify with and emulate. The Graduate is a significant film even today due to its use of abstract camera angles, telephoto lenses, excellent cinematography, and great acting. Few visual effects were used, however, matting and numerous point of view shots were used. These characteristics and the fabulous use of mis-en-scene, great writing and the era of the film all made The Graduate what it is today, magnificent.
The main theme of Werther's[1] essay on cultural theory is a subpatriarchial reality. But if capitalist
And the genre of the film is horror or thriller and it is about a great white shark that hunts in the seas of Amity Island. The film is set around the 4th of July in New Jersey. It may be set 4th of July because is their independence day or their freedom from Great Britain. It may be set on the 4th of July because this day is very important or significant for the whole of America. It is celebrated around the whole of America in various ways to celebrate the American tradition. This also creates tension because if people get killed on this day or maybe Christmas it has a greater effect because often people are unaware or not expecting something like this to happen on a day like that.
While both passages mention ‘beginning’, they are told out of sequence – one on pages 136-138, “She had decided to do something with the fruit worthy of the man’s labor and his love. That’s how it began” (136) and the other on pages 156-157, “Stamp started with the party, the one Baby Suggs gave, but stopped and backed up a bit to tell about the berries—…” (156). These beginnings are “displaced to another time” (Bennett and Royle 4). These references to ‘beginning’ can also appear to be analogous to Biblical beginnings, in the Garden of Eden. The beginning of the story could be read as the true beginning, the Fall from Grace. The entire novel revolves around the day after ...
While there are many different ways to classify a Neo-noir film, Roman Polanski’s, Chinatown captures many. The 1974 movie consists of many of these elements, including both thematic and stylistic devices. One of the main themes of neo-noir film that is constant throughout the film is the deceptive plot that questions the viewers’ ideas and perceptions of what is actually happening in the film. Every scene of Chinatown leads to a twist or another turn that challenges the practicability of the film’s reality. All of the never-ending surprises and revelations lead up to the significant themes the movie is trying to convey in the conclusion of the film.
A genre is a type or category of film (or other work of art) that can be easily identified by specific elements of its plot, setting, mise en scène, character types, or style. (Goodykoontz, 2014) The gangster film is a sub-genre of the broader genre of crime film. A genre main objective is to classify the depiction of entertainment. The genre of my movie is a gangster film. My movie I chose was Scarface. Directed by Brian De Palma.An update of the 1932 film, Scarface (1983) follows gangster Tony Montana and his close friend Manny Ray from their trip on the Cuban Boat Lift for refugees to their arrival in Miami. (Scarface, 1983a)