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.
July in America is a big public holiday, so it was a very clever idea
Analyzing the Ways the Director Builds Suspense and Scares the Audience in the Film Jaws
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.
The second scene of the film opens up to Vincent Vega and Jules Winnfield drivi...
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.
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
Slaughterhouse-Five: The Novel and the Movie In 1972 director George Roy Hill released his screen adaptation of Kurt Vonnegut's Slaughterhouse-Five (or The Children's Crusade; A Duty Dance With Death). The film made over 4 million dollars and was touted as an "artistic success" by Vonnegut (Film Comment, 41). In fact, in an interview with Film Comment in 1985, Vonnegut called the film a "flawless translation" of his novel, which can be considered an honest assessment in light of his reviews of other adaptations of his works: Happy Birthday, Wanda June (1971) "turned out so abominably" that he asked to have his name removed from it; and he found Slapstick of Another Kind (1984) to be "perfectly horrible" (41,44).
Spike Lee’s Do the Right Thing, released in 1989, takes place in a predominately African American neighborhood of Bedford-Stuyvesant, located in Brooklyn, New York. Lee, who wrote, produced, directed, and acted in this film, tells the story of an African American community that is filled with racial tension on a hot summer day. The heat takes a toll on the members of the community and tragedy strikes with the death of an African American man named Radio Raheem. Lee uses many techniques in the film, allowing the audience to explore central themes and provoking them to react a certain way. Through the use of mise-en-scene, montage, and camera angles Spike Lee is able to highlight the message of racial intolerance in the film.
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.
"The End of the Beginning." The End of the Beginning. The Churchill Centre, n.d. Web. 04 Feb. 2014.
In both Japan and America, the film industry is a big industry. Part of that industry is the genre of horror. Movies like this include the themes of an evil entity usually killing people or causing havoc and the protagonists, which are represented as good. Many cultures have their own takes on horror movies. How they’re done and the themes that they believe are evil or that they’re scared of. Ultimately horror movies are dark and invoke fear. Japan and America are two good examples of how horror movies in different cultures can be different, similar and how they can influence each other.
It is no doubt that Citizen Kane, directed by Orson Welles, defies the conventional style of classic Hollywood films. Introducing a variety of new techniques and cinematography that was unheard of at that time, the advanced camera work, different lighting techniques and use of mise-en-scene, helped fortify several very definitive themes in the film. Being removed from his secure, comfortable childhood home at a young age, it is no secret that Charles Foster Kane carried the unresolved feelings with him as he continued to grow up, seeing as he had to deal with being taken from his own mother and father, and learn how to cope with having been stripped of the family love and assurance he had always longed for. Rather than having the guaranteed
Dracula, the most famous vampire of all time, which readers were first introduced to by Irish author Bram Stoker in 1897 with his novel Dracula, which tells the story of the mysterious person named Count Dracula (Stoker). The book is an outstanding masterpiece of work, which is why it has been a prototype for various movie releases over the decades. Whenever a film director decides to make a movie on behalf of a novel the hope is that the characters concur from the novel to the movie, which leads to the exploration of the resemblances and modifications between the characters in Dracula the novel by Bram Stoker and Bram Stoker’s Dracula 1992 movie directed by Francis Ford Coppola.
An undeniably common theme shared between There Will Be Blood and Citizen Kane is the pursuit of the American Dream. Both Daniel Plainview and Charles Kane share an immense strive for ambition, achieving their success, and failures, in much different ways, with ultimately the same outcome, isolation due to negligence. The drive both protagonists share leads to their wealth, as well as their many losses, personal, physical, emotional, and psychological. The American Dream consists of the achievement of wealth, status, success, and love, which both Plainview and Kane struggle to achieve throughout the two films. The films illustrate how pursing this American Dream eventually leads to downfall, corruption and complete isolation. Ironically, the
The main theme of Werther's[1] essay on cultural theory is a subpatriarchial reality. But if capitalist