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Studies of ?Pulp Fiction? and ?Being John Malkovich?, 2002.
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.
2,637 words (approx. 10.5 pages), 13 sources, MLA, $ 79.95
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Abstract
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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"Pulp Fiction", 2002.
This paper discusses and analyzes the making of the cult classic film "Pulp Fiction", written and directed, as an independent film.
1,595 words (approx. 6.4 pages), 4 sources, MLA, $ 52.95
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Abstract
This paper discusses that the classic film "Pulp Fiction", by Quentin Tarantino, is a testament to independent filmmaking and helped set the stage for many other independent filmmakers to follow. The author feels that the film could not have been made through a traditional studio because Tarantino likes to work independently, the film was too violent and sexual to be a mainstream film. The author states that the movie helped create Tarantino's reputation in Hollywood and revamped the careers of Bruce Willis and John Travolta.
From the Paper
""Pulp Fiction" has become a cult classic film, with fine performances by John Travolta, (his first major role in many years), and Samuel L. Jackson. The film follows three distinct story lines. The first is the storyline of the date between hit man Vincent and his boss's wife; then, there is the boxer who is supposed to throw a fight, and finally the cleaning up of a hit man's mistake. The film weaves back and forth between present and past, and literally ends where it begins, in the diner where hit men Vincent and Jules began the story."
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The Language of 'Pulp Fiction' Culture as a Myth, 2000.
A Barthesian reading of popular culture, centered around a promotional poster for the film "Pulp Fiction".
1,794 words (approx. 7.2 pages), 3 sources, MLA, $ 57.95
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Abstract
A brief examination of the movie "Pulp Fiction" from the aspect of language and its impact on culture.
From the Paper
"However, the danger and sophistication that are ever-present in the poster can only really be appreciated when related to the third myth, that of 'cool'. Danger in itself is not a myth, it is a definite fact of life that, in real-life, is taken seriously as a truth. But when the danger is removed from the individual then the cool aspect of danger can be perceived as a myth. Ultimately we know that smoking is bad for one's health, but when one is separated from it, the act becomes cool, we also know guns are extremely dangerous yet again once we can take that step away and they are no immediate threat to us, they can be perceived as cool. This removal that is necessary in order to establish the element of cool is achieved in an interesting way in the poster. Rather than being just a poster, the edges have been made to look worn and there are stylised wrinkles in the paper. The purpose of this is to enhance the illusion of this image that makes up the poster as being the cover of a 'trash novel'. We realise that in actual fact these images that we have been examining are being portrayed by the film company as fiction. "
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"Pulp Fiction" and Realism, 2002.
Analyses and discusses realism in relation to the film "Pulp Fiction", which was directed and written by Quentin Tarantino.
1,116 words (approx. 4.5 pages), 6 sources, MLA, $ 38.95
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Abstract
The essay is centered around the two main perspectives of realism. It discusses how both theories can be applied to "Pulp Fiction" and draws upon examples from the film.
From the Paper
"Since the start of films, theorists have discussed the cinematic medium in terms of its manipulative functions because the cinema was seen by many to be a natural tool for capturing reality. It has been shown that audiences may find a real presence from the footage they see on the screen. Rudolf Arnheim (1957), an American theorist, sought to ?refute the assertion that film is nothing but the feeble mechanical reproduction of real life.? (Arnheim, 1975;p18) The aim of this essay is to discuss realist theorists of film and look at how both sides may be applied to the film Pulp Fiction (1994) which was directed and written by Quentin Tarantino, production by Lawrence Bender and edited by Sally Menke."
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The Film: ?Pulp Fiction", 2006.
This paper analyzes the representation of violence in the film "Pulp Fiction".
1,405 words (approx. 5.6 pages), 3 sources, APA, $ 46.95
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Abstract
This paper explains that "Pulp Fiction", a symbol of iconography, is a classic Hollywood tale in which the director and co-writer Quentin Tarantino utilizes a variety of scenes and cinematographic techniques to depict violence by showing the clash between good versus evil and exhibiting some of the ironies existing within the American culture. The author points out that the film, which is appraised favorably by critics, uses humor in the midst of depicting violence so that one might presume violence is the 'norm' within the United States rather than an extreme aspect of pop culture. The paper relates that the scene in which the character Jules quotes "Ezekiel", noting that righteous men will always be beset on all sides by the 'tyranny of evil men', shows the paradoxical nature of violence in this movie.
From the Paper
"The cinematography used in this scene is also very telling. The scene captures primarily the faces of each of the characters involved, including Marvin, Jules, Brett and Vincent. The characters faces are lighted in such a manner that they stand out. Another technique can be noted right after the moment Jules kills Brett for cheating Marcellus. As Jules comments that a miracle has occurred, one might also observe that lighting that sort of 'highlights' his head and the face of Vincent, suggesting that they are some type of hero or angel in the face of debauchery."
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Pulp Fiction & Nietzsche, 1994.
Places the characters and world of Pulp Fiction into Nietzschian terms. The thesis is that while these characters may not reflect the attitudes and ideas of Nietzsche, their world of amorality (as opposed to immorality) does.
1,350 words (approx. 5.4 pages), 2 sources, $ 47.95
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From the Paper
"The film Pulp Fiction (1994), directed and written by Quentin Tarantino, presents a series of characters from the Los Angeles underworld. They are minor criminals battling one another for territory, for supremacy in the drug trade, and for a certain sense of honor based on an unwritten code that seems to support all their activities. This code can be very important to them even when they are unable to articulate why, for it gives them a structure within which their violent world can make some sense to them. This is also a world of kitsch, of pop icons, of commercials, of fast foods, of brand names, and so on, but it is a world that these individuals have imbued with a certain philosophy. One of the hit men has indeed started developing a more full-fledged philosophy based on his reading of a passage in.."
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Assessing the American Spirit through Fiction and Non- Fiction, 2002.
Reviews both American non-fiction and American fiction works of art to support the notion that the American spirit is reflected in both types of literature.
1,150 words (approx. 4.6 pages), 4 sources, $ 44.95
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Abstract
One of the most poignant quotes in American literature comes from Donald Briscoe, who stated that "To understand American Literature, it is necessary to examine both its fiction and its non- fiction because the key to the American Spirit can be found in both." This paper assesses Briscoe's quote through addressing two works of American fiction and two works of American non- fiction with the intent of proving how the spirit of the American people is reflected in both types of literature.
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Fiction vs. Non-fiction, 2002.
A discussion of reading comprehension and the differences in comprehension of fiction versus non-fiction reading.
4,050 words (approx. 16.2 pages), 9 sources, $ 109.95
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Abstract
The paper starts with a general discussion of reading comprehension and its importance for academic success. Factors involved in reading comprehension, such as phonological memory and word recognition, are examined, as well as other influential forces, such as time limitation and silent reading are outlined. Then the topic of comprehension of fiction versus non-fiction material is explored through a review of the relevant literature.
From the Paper
"Literacy and reading comprehension are subjects that have been explored for decades. Through these explorations we have discovered that comprehension is an essential component in the ability of a person to succeed in academia and in life. Comprehension is defined as ?the act or action of grasping with the intellect?the capacity for understanding fully.?(The Dictionary) Comprehension is important because it allows us to gain knowledge of new concepts; without comprehension it would be impossible to learn anything.
"This discourse will present a literary review of the aforementioned topic so that we can understand comprehension and the effect of comprehension on academic success. The literature presented will seek to display this information in a manner that will inform and enlighten.
Reading comprehension covers a broad range of topics. For the purposes of this literary review we will seek to explain what comprehension is and the effect that fiction and nonfiction works have on comprehension. This review will use a wide range of sources including journals, digests and academic studies."
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John Dewey and John Locke On Experience, 1999.
Compares their views on nature and the meaning of human experience. Discusses ideas, perception, knowledge, scientific inquiry and mind-body relationship.
1,350 words (approx. 5.4 pages), 2 sources, $ 47.95
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From the Paper
"Differing notions of experience divide philosophers John Dewey and John Locke. The views of both have meaning in terms of such human endeavors as scientific inquiry and relate to scientific meaning.
Locke's view of experience sees the world as preexisting and the mind as learning from experience. Locke believes that the mind at birth is a tabula rasa, a blank slate, and it is only through experience that knowledge is gained. Any knowledge possessed by the individual would be knowledge gained through experience. In the beginning, however, the individual has no experience. In the Garden of Eden, when Eve has experience of reaching for the extended red apple, it is a new one, the outcome of which will teach her a lesson she could not have gained otherwise. She has been told not to perform this action, and yet ..."
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John Cheever and John Updike, 1994.
A description and comparison of their short stories including narration, style and views on American society.
1,125 words (approx. 4.5 pages), 3 sources, $ 39.95
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From the Paper
"John Cheever and John Updike have both been cited as writers of American suburbia, and indeed they do delve into that area of American life in their works. The writers are very different in their style, tone, and the subject matter they tackle, however, and should not be mistaken for one another by any careful reader. They come from different generations as well, and yet Cheever's suburbia, holds the promise of a new form of the American dream, but, is treated by the author as the thing that destroys it. Updike's suburbia is treated more as a simple fact of modern life, although his characters find it difficult living up to the expectations of suburban life. An examination of several stories by each writer can show some of the ways each approaches their subject matter, their stylistic concerns, and their differences as writers."
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"October Light" ( John Gardner ), "The Floating Opera" ( John Barth ) & "The Counterlife" ( Philip Roth ), 1994.
Compares protagonists & the way three novels deal with reality, life, death & suicide.
1,800 words (approx. 7.2 pages), 3 sources, $ 63.95
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From the Paper
"This study will describe and compare the main characters in John Gardner's October Light, John Barth's The Floating Opera, and Philip Roth's The Counterlife. The study will consider the ways the protagonists in these novels deal with reality, life, death and suicide. Essentially, the study will argue that, despite the differences in the lifestyles, philosophies, and personalities of the three protagonists, they are finally quite comparable in terms of the ways they relate to life and death. The differences remain, but at heart each of the main characters have a cynical, skeptical, absurd, or otherwise generally negative attitude toward reality and life, and each of them are struggling in various ways to arrive at some perspective which would allow them to, at the very least, be more accepting of life and death."
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Sexual Politics in Film, 2007.
An analysis of the theme of sexual politics in the movies "Pulp Fiction" and "Swept Away".
1,354 words (approx. 5.4 pages), 8 sources, MLA, $ 45.95
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Abstract
This paper discusses how media is particularly dependent on sexual politics as a thematic representation and as a guiding force for human emotion and how this is particularly true with regard to dramatic representations in film. It focuses on two movies, which pay particularly close attention to sexual politics, "Swept Away" (the original 1974 and the newer 2002 versions) and "Pulp Fiction". It looks at how "Swept Away" pays particular interest to social class with an emphasis on sadomasochism and how "Pulp Fiction" deals with the inner workings of the sexual politics in a complicated subculture of sex, drugs and crime.
From the Paper
"The cinematography and setting of Swept Away in both film versions detail the loneliness of man in a world where individuals and whole societies express love and longing through materialism and end courting with violent and absurd expressions of pain and pleasure. The film, is similar in tenor to Nine 1/2 Weeks (1986) another cult classic film dedicated to the idea of sexual politics driving personal relationships and leading to not real love but love that is expressed through dominance and possession as well as objectified bodies. "
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A Cinematographic Analysis, 2002.
This paper gives a detailed analysis of the cinematography in the 1999 film "Being John Malkovich."
1,523 words (approx. 6.1 pages), 0 sources, $ 50.95
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Abstract
Many different elements of cinematography as used in the film "Being John Malkovich" are examined in this paper. These elements include lighting, mise-en-scene, framing and the physical appearance of the characters. The paper focuses on the character of Malkovich himself and the changes that become apparent after Craig takes over his body.
From the Paper
"In the 1999 feature film Being John Malkovich by director Spike Jonze, the narrative structure is an important constituent of the story. This film raises questions about the nature of identity and explores the idea that some people are only completely free when their true self is hidden either behind a mask or beneath a costume. This main theme is conveyed through the combination of the film?s mise-en-scene, cinematography, and editing. It is these three elements which work together to deliver the message of the film and form the narrative slant."
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Hero in Literature, 2003.
Discusses the idea of the hero throughout history using Homer's "The Odyssey," "The Epic of Gilgamesh" and Tarantino's "Pulp Fiction" as examples.
1,021 words (approx. 4.1 pages), 3 sources, MLA, $ 36.95
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Abstract
This paper discusses the concept of the hero in literature throughout time. The writer looks at the subject from a number of angles including: What makes a hero; the hero's sense of justice; Codes of conduct; and Patriarchal roles. Specifically the paper looks at two ancient texts "The Odyssey" and "The Epic of Gilgamesh" as well as Tarantino's "Pulp Fiction" as examples of such heroes.
From the Paper
"People have placed their ideas in and explained their culture through literature since the first recorded literary work. As societal beliefs have changed, literature has reflected these beliefs in the stories they tell. Despite the differences, many literary elements have remained virtually unchanged. The hero, for example, has been a major part in texts throughout history. Great early western texts such as The Epic of Gilgamesh (1200 BCE) and the Odyssey (800 BCE) were based entirely around the hero. And even today, films such as Quentin Tarantino?s Pulp Fiction, hailed as one of the greatest works of modern-day cinema, involves the hero in a more modernized role. Though the hero (or heroes) is not as easily seen as in other works of the past, the defining elements are there. The hero can be explained as a phenomenon in literature because similarities can be seen in writings from every historical period."
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Commercial and Literary Fiction, 2007.
This paper examines "A Jury of Her Peers" by Susan Glaspell and "A Municipal Report" by William Sidney Porter as literary fiction and commercial fiction, respectively.
942 words (approx. 3.8 pages), 3 sources, MLA, $ 33.95
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Abstract
The paper examines "A Municipal Report", which is an example of "commercial" fiction and "A Jury of Her Peers", which is an example of "literary" fiction. The paper outlines the character developments, plots and themes in order to underscore how "A Municipal Report" is intended as a light-hearted, diversionary romp through a Southern town, while "A Jury of Her Peers" is a troubling look at gendered stereotypes in early twentieth century America.
From the Paper
"As our course textbook indicates, commercial fiction is written primarily to make money and is designed to take us away from the world of our troubles; it is, in other words, all about giving pleasure to a reader who is seeking distraction ("Chapter One: Reading the Story," 52-53). In "A Municipal Report," the character development of the story clearly reveals the commercial features of the work. For one thing, there really is no character development to speak of. Instead, the reader is confronted with stereotypes: the vain Californians, blustery and stammering Chicagoans, appallingly slow restaurant service somehow managed with the utmost courtesy, the pompous Brit, Wentworth Caswell, and the dilapidated "Negro" nearly as old as Ham. There is also, unfortunately, an element of racism inherent in the story's depiction of the "old negro" insofar as he often finds himself unintentionally humorous - such as on the occasion when he informs the narrator that the seats "is clean" because his hack has just returned from a funeral (Porter, sec.1-6). As a last point, Azalea Adair is the quintessential polite, elegant yet sheltered and impoverished Southern belle one would expect to find in post-Civil War America (Porter, sec.9-10)."
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