The paper looks at the two films, "Pulp Fiction" directed by Quentin Tarantino, and "Being John Malkovich" directed by Spike Jonze, and the ways in which they use narrative structure and surrealism to tell their stories.
Written in 2002; 2,637 words; 13 sources; MLA; $ 79.95
Paper Summary:
The writer first looks at "Pulp Fiction," by director Quentin Tarantino, a prime example of a film that utilizes a multiple narrative structure. The film has three narrative stories that are signaled by inserted captions, and told in "episodes" that are shown non-chronologically. The writer then studies "Being John Malkovich", a film set entirely in a surreal story world that runs by its own rules.
From the Paper:
"Surreal is defined as "having the intense irrational reality of a dream" and surrealism as "the principle of . . . producing fantastic or incongruous imagery or effects . . . by means of unnatural juxtaposition and combinations" (Webster, 1164). These definitions precisely describe the techniques utilized by Kaufman when putting together the dialogue and other aspects of narration for this movie. The viewer is literally buffeted by bizarre effect after bizarre effect, realizing very quickly the world of "Being John Malkovich" has its own rules of logic. For example, as Craig enters the filing office for his job interview, the secretary simply cannot understand what he is saying and mistakes his name and every comment that he makes. Craig attempts to correct her, but fails miserably. During his interview, Craig learns that the secretary's distorted hearing is considered truth, as the boss believes he has a speech impediment based on his secretary's misperception. That is simply the way the world is. As illogic after illogic piles up, the sum total is a dream world, one that certainly comes close to a nightmare for Craig, who represents the viewer's point of view."
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