In Pulp Fiction we see how Vincent (John Travolta) and the dealer are bringing Mia (Uma Thurman) back to life, after she had an overdose. In a medium shot the dealer explains to Vincent what to do. While the dealer is counting to three, the camera zooms into even tighter close ups of Vincent and Mia's face help me write a thesis statement, the needle where the adrenaline is dribbling off, and the dealer and his pierced girlfriend's face. This effect is used to show how nervous the dealer is, how much his pierced girlfriend enjoys this spectacle, and how afraid Vincent is. The spectator is able to identify with all these emotions. According to the feminist film theorist, Laura Mulvey, one of the most important pleasures of the classical narrative is identification. This is send to occur when the spectator narcissistically identifies with an idealized figure on screen, typically a male hero whose actions determine the narrative, in a process that recapitulates the discovery of the image of oneself in the mirror phase. For the scene just discussed, the idealized figure is Vincent, whom the spectators personally identifies with. Pulp Fiction uses the classical narrative elements such as parallelism. After boxer Butch wins his fight, and therefore betrays the boss, he flees by taxi, as we see hidden person in the bathroom, while Jules is saying his words from the Old Testament. In addition there is the eye-line shot. The conversation between Mia and Vincent in the restaurant in an eye-line shot. The eye-line shot is a simple idea, but a powerful one, since the directional quality of the eye-line creates strong spatial continuity. The movie focuses on how accidents dominate and direct the movie and how these accidents constitute the disjointed nature of the plot. Tarantino's views of ethics can be related to those of French philosopher Emmaneul Levinas who describes how ethics are only formed by chance and accident (Bergo). This philosophy is exemplified when an unknown gunman unbelievably misfires at Jules and Vincent causing Jules to reassess his life and form new ethics. As a result of this odd chance, Jules gives up his job as a hit man while Vincent does not ultimately leading to Vincent's death and Jules's life being spared. This view is also demonstrated in the chance meeting of Marsellus Wallace and Butch on the street and the eventual unfortunate meeting between Marsellus Wallace, Butch, and the rapist brothers, Zed and Maynard. Butch, who has not been involved in the immoral business of Marsellus Wallace before this chance event, is forced to take the immoral action of attempting to kill Marsellus Wallace. As a result of the unplanned incident of dealing with Zed and Maynard, Butch rethinks killing Marsellus Wallace and instead saves him which results in Marsellus Wallace rethinking his views on Butch who Wallace eventually spares. Another example of an influential accident is when a pop-tart springs from a toaster causing Butch to pull the trigger on a gun. This shows how this random occurrence forced Butch to do something he might have not done and how this influences his decisions throughout the movie. The story is told through accident and misadventure and the disparate nature of the plot reflects this method of storytelling. The various parts that are eventually tied together emphasize the significance of the unexpected events and interruptions in the movie. Tarantino uses excessive violence and focuses on that bloodshed in the movie to reflect the underlying topics of ethics and desire. Hunter describes how the violence in the movie is distanced from ethical concern and instead is used to offer insight into the questioning of ethical reason as it relates to desire (Hunter). The extreme violence in the film is an integral part to the aesthetic. Tarantino meant for the audience to laugh at the violent scenes such as Vincent's accidental killing of Marvin. This scene does not further the plot of the movie and is also prolonged throughout the film. Because of this, many people find the scene inexcusable and yet Tarantino intends for the audience to laugh at how ridiculous the scene is carried out and at the characters reaction. Stone describes how the use of random unnecessary violence saturated with real life dialogue creates comical morbid scenes that appear comical (Stone). Stone further explains that this was Tarantino's intention and that he knew many critics would complain but felt it necessary for the style of the movie (Stone). Tarantino deliberately violates the conventions of action-films and that contributes to the appeal of the movie. The typical style conventions of the time for action films were building tension and suspense. In the film, Tarantino recreates scenes of violence that are exaggerated, surreal, and often comical. He leads up to these violent scenes with dialogue and continues to lead away from the scene flawlessly through the same dialogue. Often scenes are unnecessary for furthering the plot and random in nature. Most directors will cut away from the violence, but Tarantino stays with the violence and often displays the characters in the aftermath of the violence. Pulp Fiction is an American crime film written and directed by Quentin Tarantino that connects the intersecting storylines of gangsters, criminals, and disreputable individuals in Los Angeles. It follows the story of two hit men, Vincent Vega and Jules Winnfield, who are on a mission to reacquire a suitcase that belongs to their mobster boss, Marsellus Wallace. In another intersecting storyline, Butch Coolidge, an aging boxer, is paid by Marsellus Wallace to throw a fight alain botton de essay in love, but he instead crosses Marsellus Wallace by winning the fight and then has to flee from the consequences. The film intensely focuses on conversations between characters that reveal both a dark comedy style of humor and their perspectives on life. The film's appropriate title is a reference to the pulp magazines and crime books popular during the twentieth century, known for their dialogue and violent nature. The director's unique style of remarkable dialogue, extensive use of violence, nonlinear chronology, and powerful, relatable character creation contribute to the central theme of how chance governs the plot and contributes to the formation of ethical views. Similar to the food in the Big Kahuna scene, the dinner choices of Vince and Mia illustrate roles in American society. Radtke (2005) in Pulp Fiction – an analysis of Storyline and Character – believes it is one of the most pivotal scenes. “Food in general is very important to Tarantino … Action is set in a diner examples of college essay papers, a coffee shop, or an eatery” (p. 9). Vince orders a steak professional resume writing services uk, “bloody as hell,” while Mia gets a small burger and milkshake. Again, the red meat – extra red, in fact – shows the masculinity of Vince, who seems uncomfortable with his role as Mia’s girlfriend than a man. When he first gets the menu, he immediately begins looking for the steak – it is the only thing he considers and orders it immediately. After he orders, he becomes more relaxed and talkative. Pulp Fiction opens with Vince (John Travolta) and Jules (Samuel L. Jackson) driving to kill a group of young men who have wronged the two hit men’s boss, Marcellus Wallace (Ving Rhames). After eating their breakfast and simultaneously intimidating the boys, Jules kills all three and retrieves a mysterious suitcase belonging to Wallace. Leading up to the hit, Vince tells Jules that he has been charged with taking Wallace’s wife, Mia (Uma Thurmon), out for a good time that night. After scoring some highly potent heroine essay on customer care, Vince picks up Mia and the two travel to Jack Rabbit Slim’s, a 1950s themed diner complete with period car booths and wait staff dressed like pop icons of the day. After a meal riddled with sexual tension and subtle critiques of America, the two retire to Mia’s house, where the former actress overdoses on Vince’s heroine. After saving Mrs. Wallace, Vince takes her home and all is well. A series of scenes involving Bruce Willis’ boxer character Butch Coolidge follow. Coolidge decides not to throw a fight, much to the chagrin of Wallace. After a brief manhunt essays with questions, Wallace, carrying a breakfast of donuts and coffee, spots Coolidge by chance and pulls a gun on him. After Coolidge wrecks his car running over Wallace, the two battle, staggering, through the streets until they end up in a shop run by a pair of suspect men, who hold both Coolidge and Wallace at gunpoint before sodomizing Wallace. The mob boss escapes with Coolidge, and the two call it even after this disturbing experience. The film ends with Jules and Vince eating at a diner, which is robbed by two lovers midway through the henchmen’s meal. Despite the ease with which he inflicts violence earlier in the film rules for writing a good essay, Jules abstains from killing the two, instead giving them money and telling them to leave. In a similar scenario to Wallace’s in the Torture Scene, Jules change of heart seems to be foreshadowed by his decision to ignore meat. In the Big Kahuna scene, Tarantino uses the hamburgers to indicate imminent violence, and Jules uses them to show his masculinity and power. The diner scene seems eerily similar; Jules could easily have sat the man down, eaten the plate of bacon before him to symbolically show his control and masculinity, and then gunned down both Ringo and Honey Bunny. Instead, he completely abstains from the pork Vince ordered, calling it “filthy.” It is here that he seems to hit the moral peak of his character development. He has seen and caused too much death. He will not eat meat anymore, and he similarly will not kill anymore. Tarantino, Q. & Peary, G. (1998). Quentin Tarantino: interviews. Jackson: University Press of Mississippi. Charles, N & Kerr, M. (1988). Women, food and families: Power, status, love, anger. Manchester: Manchester University Press. It is methods and research papers, also how to write the perfect essay, important to note that this is the first time we fully see Marcellus Wallace. In previous scenes, we get descriptions, hear a voice, and see an outline. But as Butch’s car pulls up to the stop sign, there he is, bathed in sunlight, carrying a box of donuts and two cups of coffee. Up to this point, Wallace is represented in the film through his henchmen, who carry out his wishes (almost always) in the presence of meat. But in his first full appearance, Wallace carries not sausage, nor bacon, but donuts. Does this suggest that Wallace is not as masculine or violent as his underlings? Probably not, but it does seem to draw a line between meat eaters Jules and Vince, who are the dealers of death and violence, and the donut-carrying Wallace, who in a matter of minutes will be held at gunpoint and violated. Between interlocking story lines and black humor, few films have gained such universal critical acclaim (without winning Best Picture) as Quentin Tarantino’s 1994 mob masterpiece Pulp Fiction. Dominated by brilliant dialogue internship cover letters samples, violence, and subtle criticisms of American culture, the Best Original Screenplay-winning film intertwined food to further each of these critical plot threads. Indeed, Tarantino’s use of food was central to every major scene in the film, heralding impending violence and offering a tangible and relatable avenue for a commentary on American culture at that time. Food is involved heavily throughout the film, with Tarantino acknowledging that he “likes to [shoot] in restaurants” (Tarantino & Peary, 1998, p. 86). So for the sake of brevity, this paper will focus on a handful of the most prominent scenes. Such directorial techniques are one of the many aspects which make the film effortlessly drip moments of greatness throughout. This is one of the many aspects of the film which is often overlooked, as the script is often the main thing that gleams into our eyes when we are first fused and engaged with Tarantino’s film. This directorial style is usual down to the camera work in the film; yet, even though each individual shot doesn’t strike us immediately like an image from a Kubrick or a Lynch or a Nolan film – each shot still maintains some form of intensity. This intensity is created by the clear precision it is created in, Tarantino takes his time with each shot, he doesn’t edit them away like Michael Bay does, one single shot may last from thirty seconds to two minutes. The dance sequence between Mia and Vince is a good example of this, as the dance itself lasts for a seemingly long period of time, and each shot lingers on them, however, it never becomes boring essay about justice, because…well…it’s a strange dance, yet it oozes cool and style. Vince pulling some moves. What I love about Quentin Tarantino more so than his style and his panache for good, quotable, punchy dialogue, is the fact that each time I watch one of his movies, they seem to just get better. I re-watched Pulp Fiction yesterday and realised that it isn’t just a good movie, it’s a great movie, this is mainly because it’s very layered. It’s layered in the sense that in each individual scene there’s so much to like, and the genius of it is, is the fact that none of the direction or the writing ever seems forced, but quite natural. Pulp Fiction is a crime film with an almost charmingly elegant flow to it. Indeed, what further adds to the joy of the film is the fact that Tarantino knows that the essentially aimless dialogue puts it above other films. So much so that he uses dialogue to manipulate the audience in very unexpected ways. Jules and Vincent have just arrived at the flat, they’re about to open the door, yet stop and suddenly move up the corridor to discuss the ethics of massaging the feet of a married woman. To add to this further is the fact that the camera simply pans around and then lingers in the same spot near the door. All of this builds up a sense of comedy, and more importantly: intrigue, about what’s behind the door.
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