Quentin Tarantino As An Auteur

SENTENCE 1: I will start this section by introducing who Tarantino actually is, I will provide a brief overview of his childhood (Biography.com Editors,“Quentin Tarantino Biography”), state some of his awards and successes (“Quentin Tarantino Biography”) and mention some of his most well known films such as Reservoir Dogs (1992), Pulp Fiction (1994), and Django Unchained (2012).

SENTENCE 2: I will bring to light that there are undoubtedly similar motifs and stylistic tendencies throughout these films that make it recognisable as a Tarantino production and with that I will bring up, Thomson-Jones, “Aesthetics and film” (2008) where she examines the standards of how one can be established as being called an “auteur” of something, or in this

Or is he just another cult film director?”.

SENTENCE 4: I will attempt to answer the essay question through reading researched academically trustworthy sources, critical analysis and form an interpretation from these sources, and, finally, combined these into an argued conclusion.

QUENTIN TARANTINO AS AN AUTEUR

Introduction into Auteur Theory

SENTENCE 1: In this section I will explain what Auteur Theory is (Bartle, “Tarantino and the Auteur Theory”), as well as state and explain the three levels, according to Sarris, that a director has to achieve in order to be called an Auteur. Thomson-Jones’ Aesthetics and film (2008: 53)

SENTENCE 2: With all that I will continue my essay, using the three criteria’s, and show how they fit with Quentin Tarantino’s works, therefore making him an auteur, hopefully.

Tarantino’s technical competence

SENTENCE 1: I will use Tarantino’s Reservoir Dogs (1992), Pulp Fiction (1994), and Django Unchained (2012) to find repetition of technical devices that are used in his films to show his technical competence, and therefore ticking off Sarris’ first level of auteur