Abstract The paper examines the opinions of various critics to determine the secret of "PulpFiction"'s popularity and why it captured the attention and imagination of audiences throughout the world. The paper relates that this film was "different" and the writer suggests that it is because of the characters who looked and even acted normal and yet were the most hateful, insidious, murderous, amoral people in the world. The paper opines that in this way, "PulpFiction" played on the postmodern fears of its audiences.
From the Paper "What does the term "post modern" really mean when it comes to film? In the case of "Pulp Fiction" it refers to developing and popularizing a new genre, away from comedies or dramas or so-called "action flicks." In a sense Quentin Tarantino has confirmed Hannah Ahrendt's comments about Adolph Eichmann at his trial: "the banality of evil." Tarantino makes us laugh as often as we cringe in the ordinariness of the evil some of his characters perpetrate. Tarantino won an Academy Award for best screenplay for this movie. But, when one says that it is a "post modern" film, in a sense what is being discussed is not merely a new genre, but the fact that here was a director and screen writer who did not "pay his dues" working his way up the studio ladder. He only had one other film to his credit, the 1992 "Reservoir Dogs" which was the beginning of the amoral plots and characters more fully developed in "pulp Fiction.""
Abstract A brief examination of the movie "PulpFiction" 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. "
Tags: cool, dogs, reservoir, movies, myth, james, dean
Abstract This paper discusses that the classic film "PulpFiction", 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."
The paper looks at the two films, ?PulpFiction? 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.
Abstract The writer first looks at "PulpFiction," 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."
Abstract The essay is centered around the two main perspectives of realism. It discusses how both theories can be applied to "PulpFiction" 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."
Abstract This paper explains that "PulpFiction", 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."
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 "PulpFiction" 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."
Abstract In this article, the writer notes that to some members of the modern audience, the film 'PulpFiction' represents the worst aspects of modern culture and that the critical acclaim it received for its unabashed embrace of violence has led to an increasing amount of violence in films, up to and including the modern horror porn. The writer points out that others argue that the violence in 'PulpFiction', while disturbingly real, absolutely excessive, and not representative of daily life, serves a very important purpose. The writer maintains that rather than detracting from the plot, the violence in 'PulpFiction' is an essential part of the plot; without which, the movie simply would not exist. The writer concludes that by humanizing the character Marcellus, Tarantino makes a cogent argument for the fact that, as a society, Americans have dehumanized and marginalized a huge segment of people, simply because of their criminal behavior, and that this dehumanization is morally wrong.
From the Paper "Like the other characters in the story, Butch's livelihood depends on violence. However, while Butch's life may have been violent, which is a prerequisite for a professional fighter, the film makes it clear that Butch has not previously been engaged in the type of criminal activity as the story's other leading characters. Therefore, when the audience is introduced to Butch, they see a washed-up has been who is willing to take a dive for money, but who is not entirely comfortable with having made that decision. What the audience does not know is that Butch has not actually decided to throw the fight, but is actually making his own plans to score big on the fight and escape with the money. Somehow knowing that Butch intends to cheat Marcellus, a crime boss, makes Butch seem virtuous in comparison. In addition, there is something underneath Butch's complacent and dopey exterior, and Tarantino uses violence to show the real Butch, who is actually a proud man with a lot of honor, even if his views of what is honorable do not coincide with society's views."
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 "PulpFiction". It looks at how "Swept Away" pays particular interest to social class with an emphasis on sadomasochism and how "PulpFiction" 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. "
Places the characters and world of PulpFiction 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, 1994, $ 47.95
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.."
Abstract This paper examines the works of Quentin Tarantino, focusing primarily on his film, " PulpFiction". The paper also discusses Tarantino's place in film history and includes a personal account of the author's distaste for Tarantino's use of violence.
Abstract The writer of this paper examines the issue of technological dystopia by highlighting the negative aspects surrounding the inclusion of fictional robots in both film and written works of fiction. The writer discusses why the characters or images portrayed by robots cause either admiration or resentment to the audience. This paper also explores the underlying issues that authors and filmmaker are trying to convey in using robots as central characters in their stories. This paper looks at the human-like robots in author Isaac Asimov's science fiction novels. This paper analyzes the impact of robots and advanced technology in films such as "Terminator" and "I, Robot." This paper discusses the common theme prevalent in numerous films and novels pertaining to the perfection of robots and the imperfection of human beings. This paper also analyzes the relationship between the fictional robot and man.
From the Paper "Like any other machine invented by man, robots are shown to have the capacity to malfunction. Unlike a malfunctioning watch, car, or any other machine, robots are portrayed to have superior intelligence and consciousness. This makes the "malfunction" even more dangerous, since they can manifest harm with superior intent and capability. A robot defect is magnified because it can create an "intelligent" danger that humans may not be able to handle. There's also the factor of consciousness. Robots can become self-aware and realize that they are superior to humans. The implications of this are vast and debatable. Perhaps they will cooperate with humans and regard us as their creator, or realize that they are the superior beings and enslave humanity. Regardless of the result, authors always highlight this possibility. Something that has the superior capability to do good also has the same capability to do harm, so fail-safe devices should be put in place."
Abstract The writer of this paper uses "The Cask of Amontillado" to illustrate how the elements of fiction can be used in works of literature. It shows how works of fiction often have to be more structured and believable than non-fiction so that it can be taken to heart as a story that may actually happen.
From the Paper "In Edgar Allan Poe's The Cask of Amontillado he uses all the elements of fiction to bring his story alive. If the story were missing some of the elements it would fall short of being a believable and viable work of fiction. Each element holds an importance in the story and creates a dimension that creates a life of its own. "
Abstract This paper shows how science fiction addresses the very real themes and concerns of modern society. It also supports the idea that as long as we continue to develop technologically as a species, as long as we continue to dominate our planet and begin to look to the heavens for other places to explore, there will always be a place for science fiction literature.
From the Paper "Science Fiction. That short phrase floods the senses with a barrage of fantastical characters, realms, alien races and intergalactic space wars. Indeed, it is easy for the casual observer of science fiction to think of it rather shallowly, as a genre of literary and film achievements based solely on their entertainment value. But, as we shall explore, SF is much more than just a new-age side-show, designed to merely dull the senses with spectacular fantasies. Upon a deeper investigation, science fiction takes on a much more profound aura, and can be classified with the greatest literary movements of all time."
Abstract This paper is a discussion on Patrick O'Brian, the literary genius of nautical-fiction who died in 2000. It looks at elements of O'Brian's naval fiction and the 21 Aubry / Maturin novels including characterization, plot and style.
Tags: Patrick O'Brian, Aubry / Maturin Novels, Naval fiction, novels
