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Pulp fiction theme essay
Pulp fiction analysis
Pulp fiction narrative
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The movie Pulp Fiction, directed by Quentin Tarantino, contains violence, sex and drugs but is an underlying religious film. The five main characters either follow the lord and are rewarded or they follow the devil and are punished. John Travolta plays Vincent Vega, Ving Rhames plays Marcellus Wallace and Uma Thurman plays Mia Wallace, these three characters represent evil and sin. Samuel L. Jackson plays Jules Winnefield and Bruce Willis plays Butch Coolidge and these characters represent good and follow a righteous path. The movie is broken up into four separate sections that are not in chronological order but they coincide with each other at the end of the film. Pulp Fiction is violent, drugs abusive and sex filled the movie that promotes strong religious messages through choice of the righteous man or the Devil’s path.
At the beginning of the film, Vincent and Jules are cold-blooded, murdering gangsters. They enter an apartment to obtain an important symbol in the movie. It is a briefcase that opens with the numbers six, six, six, which is a sign of the devil. The case belongs to Marcellus and is the first sign that he is an evil character. In order to retrieve the briefcase, Vincent and Jules need to kill people in the apartment.
Before Jules murders anybody, he recites a verse from Ezekiel 25:17, "The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of darkness, for he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you wi...
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... his valley of darkness. The act of being a righteous man and saving the weak provides Marcellus with forgiveness to Butch for throwing the fight and allows the hit on Butches head to be called off. Butch then rides off into the sunset on a motorcycle, or chopper.
Pulp Fiction was brilliantly made to hide religious morals though out an inappropriate film. Underneath the surface of drugs and violence the path of righteousness and the allure of sin are present throughout the film. Janet Maslin from the New York Times claims "Pulp Fiction" leaves its viewers with a stunning vision of destiny, choice and spiritual possibility. The film needn't turn explicitly religious to reverberate when one character escapes death on a motorcycle labeled "Grace." The film was very discrete about the apparentness of the religious morals that it projected to the audience.
In the 1967 prison film Cool Hand Luke, directed by Stuart Rosenberg, there are many examples of theological symbolism and religious themes. Most of the symbolism alludes to Jesus Christ, which is often utilized in film to add depth to the protagonist in the story. Such Christ figure symbolism can also be seen in films such as the 1999 hit The Matrix and the original Star Wars film (1977). Along with these visual suggestions, there are also thematic elements that underlie Cool Hand Luke which involve Biblical allusions and metaphysical questions.
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.
Quentin Tarantino’s “Pulp Fiction” is one of my favorite movies of all-time, it is about gangsters as well as everyday people struggling to get out of the dire situation they are in. In the final scene Ringo, a common criminal, is robbing a Diner. Jules just happens to be in this Diner, and Jules is one of the meanest gangsters in the city. Ringo and Jules have a confrontation in the Diner and eventually Jules is holding Ringo at gunpoint. Instead of killing him, he tries to convey a message to Ringo. In this message he uses logos, pathos and ethos to explain to Ringo that he is trying to transform from an evil man into a righteous one.
Nelson Johnson, author of “Boardwalk Empire: The Birth, High Times and Corruption of Atlantic City”, is a native of Hammonton, New Jersey. Johnson graduated Villanova Law School in 1974, after receiving his Bachelor’s degree in 1970 from St John’s University in New York, majoring in political science. Johnson began his political career in 1975: being elected to Atlantic County’s Board of Chosen Freeholders, where he served until 1985. Johnson had a successful private practice culminating in appointment to be a Superior Court Judge in 2005. It is interesting to note that Gromley, who nominated Johnson to Superior Court, is featured in his book. Of further interest is that Johnson served on Atlantic City’s Planning Board at the conception of casinos.
Pulp Fiction is a film that is structured around three story-lines. Vincent Vega is the lead in the first story. In the second storyline, Butch Coolidge is the lead, and Jules Winnfield, is the lead of the third. Each storyline targets a different series of incidents but they connect and intersect in numerous ways. “The film starts out with a diner hold-up staged by "Pumpkin" and "Honey Bunny," then picks up the stories of Vincent, Jules, Butch, and several other important characters. It finally returns to where it began, in the diner: Vincent and Jules, who have stopped in for a bite, find themselves embroiled in the hold-up”(Tarantino). There are seven narrative sequences:
In American society, violence runs rampage throughout the country that cause its citizens to be afraid and discouraged about their homeland. One of the major parts of American violence is from guns. In the documentary, "Bowling for Columbine", a famous filmmaker, Michael Moore addresses the ubiquitous situation in America. He argues that the use of gun in America co-insides or correlates to the recent massacres and that America, as a whole, should have stricter gun control laws. Throughout the film, Moore uses specific references to it and employs rhetorical and persuasive devices to construct his argument in favor of changing gun laws.
As a child, Hazel Motes is indoctrinated in religious fundamentalism by his grandfather, “a circuit preacher, a waspish old man… with Jesus hidden in his head like a stinger” (9). Time after time young Haze hears the searing sermon of his Bible-thumping grandfather who, in front of a crowd, would point to his grandson, “that mean sinful unthinking boy,” and pronounced him “redeemed”: “That boy had been redeemed and Jesus was not going to leave him ever…. Jesus would have him in the end!” (10). Understanding Jesus as the “soul-hungry” devourer, as “something awful,” the boy very early comes to the conclusion that “the way to avoid Jesus was to avoid sin” and, at the age of twelve, decides to follow the preacher’s calling like his grandfather. Furthermore, Haze’s mother, with “a cross-shaped face” reinforces the fundament- alist piety in her son by equating the boy’s germination sexuality with sin. Her chilling question “what you seen?,” to the shame-faced boy who just had a peek at a naked w...
American’s nation-wide did a disbelieving double take when they were heard that Jim Carrey was going to be playing the role of God in Universal Pictures summer 2001 movie Bruce Almighty. Millions of American’s have found themselves near-obsessed with the engrossing epic Lord of the Rings, Dogma has been welcomed into the Cult Films Hall of Fame, and Mel Gibson’s The Passion stirred an overwhelming amount of religious, cultural, and ethnic criticism. When looking at the recent array of films that either present or suggest religious themes – whether it be allegorically, evangelically, or satirically – we find ourselves asking the question “why now?” Is the reason for this upsurge sociological, psychological, philosophical, or historical? Is there perhaps a political or economic reason as to why American’s today are so eagerly consuming films that are looking at the timeless battle between good & evil, questioning organized belief systems, or presenting religion in new and contemporary ways? From critical analysis and research done on this subject, as well as much pondering and theorizing, it could be said that the question of “why now” is more philosophical, and value oriented, than anything else. The religious content that is present in modern American films is indicative of a more general discussion & questioning of values and resonates with the post-modern, religiously pluralistic mindset that American’s have come to embody.
This film illustrates this internal oppression and revolt through schemes, interrogations, threats, and abrupt violence. This is depicted throughout Inglourious Bastards and is illustrated beautifully in the opening scene and chapter one of the film set in 1941 Nazi occupied France. There is a peaceful French home owned by dairy farmer Perrier LaPadite, where he lives with his three beautiful young daughters.... ... middle of paper ... ...
Ed Norton is the main character in the beginning. He has a meaningless job and he has to go to support groups to feel anything. There he meets Marla, a woman who does the same as him; they are both addicted to support groups. He then meets Brad Pitt. Pitts character forces Norton's character to see that life is meaningless and they begin the fight club. It starts in the basement; it is in confines and is completely regulated. It then shifts to cultural anarchy of vandalism and attacks. Then the members have to pick a fight and lose. The idea of the fight club spreads and becomes like an army and the members become militant. The members no longer "take it out" on each other, they take it out on everyone. The idea of the fight club becomes facist and Tyler becomes like Hitler.
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
who runs into some issues and takes the unmoral path, struggles with his idea of god throughout the entire movie. The other poignant character played by Woody Allen, is Cliff Stern whom is an aspiring documentary director making his masterpiece about a philosopher who seems very optimistic about life and acts as a commentator throughout the movie. The final analysis of god comes in the end when these two charters finally meet at a party and discuss Judah difficulties. Though the views of god flip flop throughout the movie at the end it is obvious that Judah has lost all faith in god in this world and Cliff believes in a just universe where wrongs burden the wrongdoers forever. The comments Cliff makes would seem to indicate that god is present in our lives through our conscious; however, Judah has lived through the worst with little consequences and now back to his life implying that god is simply a watcher of this world and doe not interact with it. The movie implies that though are perception of god may shift through life eventually we are left with nothing in term of a diety.
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.
I spent a lot of time considering what movie I would watch to write this essay. I listed off the movies that I would like to watch again, and then I decided on The Notebook. I didn’t really think I could write about adolescence or children, so I thought that, maybe, I could write about the elderly. The love story that The Notebook tells is truly amazing. I love watching this movie, although I cry every time I watch it. The Notebook is about an elderly man that tells the story of his life with the one he loves the most, his wife. He is telling the story to his wife, who has Alzheimer’s Disease, which is a degenerative disease that affects a person’s memory. She has no recollection of him or their life together, or even her own children. She wrote the story of their love herself, so that when he read the story to her, she would come back to him. There are three things that I would like to discuss about this movie. First, I would like to discuss their stage of life and the theory that I believe describes their stage of life the best. Second, I would like to discuss Alzheimer’s DIsease and its affect on the main character who has it and her family. Third, I would like to discuss how at the end of the movie, they died together. I know it is a movie, but I do know that it is known that elderly people who have been together for a long time, usually die not to far apart from one another.
The first character introduced by Leone to the audience is Colonel Douglas Mortimer (Lee Van Cleef), “a retired soldier and bounty hunter motivated not only by profit but also the thirst for revenge” (Bondanella, 257) of his sister’s rape and death. He is a professional, who stalks his target from a distance with an assortment of rifles rolled up in his saddlebags; but to contrast with this cold delusion, Mortimer dresses in his black preacher’s costume and is a habitual reader of the Bible. He represents the older, wiser generation, which is destined to be extinct. Next, Leone introduces Mortimer’s competition and opposite, Manco (Clint Eastwood), a young stranger with his cigars and poncho, who blends with his surroundings. He is a bounty hunter who kills purely for profit and approaches his victims directly. Finally, the audience is introduced to a doped-up Mexican killer, Indio (Gian Maria Volonté), whose degenerate pleasure in violence is linked to the moment, years before, when the death of Mortimer’s sister traumatized him sexually, and is constantly reminded of the incident by the chiming of the musical watch he carries, which matches Mortimer’s. (Bondanella, 257)