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Use of narrative in film
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The plot segmentation of Quentin Tarantino’s 1994 film, “Pulp Fiction,” reveals how the pieces in the nonlinear narrative structures are put together. In order for the audience to remind them when these events take place, the movie uses title cards to specify each segments’ main plot. Some of the characters would even reference events that have already occurred, such as when Mia, in the boxing match building, thanks Vincent for the dinner. The movie does not just allow the audience to really pay attention to how the story is being told, but also show how similar each of the main stories’ structures is, despite being in a nonlinear form. For example, all of them feature acts of “heroism” by resolving the issues when caught in very unexpected
Quentin Tarantino’s film, Pulp Fiction, uses words to the fullest of their meanings. Words in the film amplify meaning through their duplicity. Characters call one another names wherein the names’ meanings enhance our understanding of what the character is saying. Even if the author or speaker does not consciously intend the meaning, the language that this paper analyzes contains meaning of psychological importance. Characters’ actual names in the film are also of particular significanc e. Nearly every character’s name reflects his personality or role in the film. Because people are human and integrating a name and personality is difficult, it is only genius for every name to be significant and meaningful. Yet, it may be surprising ho w well thought out the naming of the characters is. Pulp Fiction also touches on the interpretive value of words. Oftentimes, a person or group of people may understand the same definition of a word but interpret it differently. Language is prim arily a means of communicating ideas. The film makes an interesting point of how the actual words used may be irrelevant to the idea being portrayed. In sum, Pulp Fiction demonstrates how the meaning of speech can depend either on the choice of w ords used or on the prescribed reaction to word’s usage.
film. There is no princess in the film but, at the end of the film,
beginning at the end, so what is the beginning and what is the end in
The fact that the story starts off with the end of the story leads makes the plot nonlinear and as a result, makes the audience feel how Louise feels after being able to see the future. This is a technique that has been widely used in films, and Chiang adopts this technique in order to enhance "Story of Your Life." According to Allan Cameron audience are more accustomed to “radically achronological narrative structures” as a result of “the relative popularity of films such as Pulp Fiction (Quentin Tarantino, 1994) and Memento (Christopher Nolan, 2000)” (65). Normally, a writer would use this in order to hide information from the audience; for example, in 21 Grams, which is a nonlinear movie, there are “three apparently disparate tales turn out [to] be inextricably linked” (Cameron 67). Chiang does not use the nonlinear structure for this reason; most notably Chiang reveals that Louise’s daughter died in the second break from the main plot (95). By having this nonlinear form, Chiang is asking the question of what is the relationship between time and the character, and this one of the larger themes of “Story of Your Life.” The relationship between time and humanity, this is a notable theme as it progresses without regards to humanity and begs the question of what is the future. As Chiang uses the structure of the story to build another theme in the story, he also uses the voice within the breaks to bring the audience into the
Jean-Francois Lyotard concept of metanarratives or grand narratives is seen throughout the film, Pulp Fiction. According to Lyotard, metanarratives are
What makes a story or movie keep you engaged and interested? An interesting story is made up of suspense, conflict, and foreshadowing. Jaws and The Most Dangerous Game share a common theme known as survival, they both use suspense and foreshadowing in similar and different ways to keep the audience on the edge of their seat. Suspense, foreshadowing, and conflict are literary techniques used to keep the story line interesting. Jaws and The Most Dangerous Game both share a common conflict and theme known as survival.
There are movies that make you laugh, that make you cry, that blow you away with jaw-dropping, ever-so-satisfying action sequences. And there is Pulp Fiction, Quentin Tarantino’s masterpiece, an homage to the old Pulp Magazines and crime novels popular in the 1950s. Known for their incredibly dense and complex dialogue and excessive violence, Tarantino adds his trademark nonlinear chronology and thorough character development to create a movie that celebrates the fact that chance governs all of our lives. The film consists of multiple stories that tell of the criminals, gangsters and outliers of Los Angeles, the underbelly of society. It follows Vincent Vega and Jules Winnfield as they embark on their mission to recovering a briefcase that
Pulp Fiction is a show that is debated on its true meaning, though one of the most debated and accepted theories is that it is the journey of Marcellus Wallace’s soul. It is thought that he has sold his soul to the devil and has sent his men to retrieve it. As the movie jumps across the timeline with his wife, Mia, who becomes a main character. She is instinctual and anxious. Her emotions take over constantly and create bad situations.
The only real way to truly understand a story is to understand all aspects of a story and their meanings. The same goes for movies, as they are all just stories being acted out. In Thomas Foster's book, “How to Read Literature Like a Professor”, Foster explains in detail the numerous ingredients of a story. He discusses almost everything that can be found in any given piece of literature. The devices discussed in Foster's book can be found in most movies as well, including in Quentin Tarantino’s cult classic, “Pulp Fiction”. This movie is a complicated tale that follows numerous characters involved in intertwining stories. Tarantino utilizes many devices to make “Pulp Fiction” into an excellent film. In this essay, I will demonstrate how several literary devices described in Foster's book are put to use in Tarantino’s film, “Pulp Fiction”, including quests, archetypes, food, and violence.
Last but not least, O’Connor confirms that even a short story is a multi-layer compound that on the surface may deter even the most enthusiastic reader, but when handled with more care, it conveys universal truths by means of straightforward or violent situations. She herself wished her message to appeal to the readers who, if careful enough, “(…)will come to see it as something more than an account of a family murdered on the way to Florida.”
In this Essay I want to outline the structure of two films, Back to the future and Good Will Hunting, and clearly outline the structure and the plots, and how the key moments arise within the plot, taking both films I will show from the start of the film, exposition Incitement, and the trigger points, midpoint and climax and resolution, I will analyse the main characters and their back storey.
It is evident that Twin Peaks offers different levels of complexity and in doing so opens up possibilities of using different copying strategies in understanding its paradoxes, riddles, and its perplexing plot architecture. It invites viewers to find meaning where there is none, to experience cognitive inconsistencies and offers more questions than possible answers. Because of the show’s textual qualities further research on the effect of cognitive dissonance is suggested. The diversity in narrative complexity in the television serial is paralleled with its hybridization of genres and distortion of temporal and spatial aspects. The simplistic world of the detective genre is juxtaposed with dramatic elements and the existential atmosphere typical of film Noir, including mental pathological aspects and multiplication of characters. Thus constructed perplexingly Lynch’s show invites viewers to actively navigate and orientated inside and outside the storyworld, in order to effectively interpret surreal, unusual events that somehow amalgamate to create meaning. In addition, it invites viewers to cognitively and narratively map the show’s plot architecture.
The concept of pastiche has encountered much attention from the exponents of post modernism. As the concern with reproduction of earlier texts is central to adaptation, it is appropriate to consider adapted films as pastiche where diverse texts merge together. Francis Ford Coppola’s Apocalypse Now can be considered as pastiche because of its intertextual meanings which are mostly drawn from Joseph Conrad’s Heart of Darkness.
...verything around us is made by our actions. Positive or negative they cause an effect that will ultimately lead to a different story base on how we interpret life. Narrative elements are used as a bridge by the directors in their film to create any master plot that is currently known. Any modification at any narrative element used by the director at important moments inside the story can help you portray a different master plot. This used of narrative elements can be best described as an ever changing process that takes place inside an individual’s head. Depending on the individual that may be exposed to those narrative elements can create different meanings. This new interpretation can be different for everyone. We have to be aware that one change in the surface scenery can lead to many ideal outcomes in our minds and that is the main power the audience has.
On September 5th, 1975 “Jaws” by Steven Spielberg turned into the fastest grossing film in the history of the motion picture industry. According to Variety, “Jaw” proceeded to surpass the previous record gross of “The Godfather” by Francis Ford Coppola with an extra $38 million (Variety, Sept. 10, 1975). This immense success suggests that “Jaws” express the society’s underlying consciousness, and should be approached critically with a different point of view. By producing fictional structures which involve the audience viewing the shark as an image, the creators of the film capitalized on the emotions attached to the sharks. Rather than being just a series of individually narrative events, the structures constantly express the shark’s image