Pulp Fiction has built a cult following, even as its mother-freaking language and graphic violence offends others. Get Help With Your Essay If you need assistance with writing your essay, our professional essay writing service is here to help! Jan 01, · 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 Jun 06, · Order custom essay Pulp Fiction with free plagiarism report. The film’s title, “Pulp Fiction” reveals the entire culture from witch it was born. Pulp fiction refers to the cheap fiction magazines (mainly detective fiction) which were published from the s through the s
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Its unique blend of dark humor, violence, and nonlinear and disjointed storytelling, as well as its willingness to throw genres together with no seeming rhyme or reason, combine to make a story about the normal lives of a bunch of morally bankrupt individuals. Pulp Fiction would be a tragedy, but it never seems to pulp fiction essay that tragic. In order to begin to read the film, we pulp fiction essay first look at the characters themselves, and the roles they play in the greater story. First of all, we can look at the two hitmen, pulp fiction essay, Jules Winnfield and Vincent Vega.
Together, they pulp fiction essay unarguably the protagonists of the film, and the vast majority of the film is dedicated to their escapades as a duo, pulp fiction essay. Their escapades, of course, pulp fiction essay, are entirely immoral, involving the murder of a handful of college-age kids, heroin abuse, and general just being horrible people. In reading this film, one important choice to recognize is that Tarantino seems to write so that there is no police involvement anywhere over the course of the film. In fact, for being in a major metropolitan area, nobody seems at all worried about the police and their influence on matters.
For example, after shooting a few young adults in broad daylight, Jules and Vincent drive their car away, holding a man at gunpoint in broad daylight, accidentally shoot this man, and then drive around with a bloody car to a house. At this house, they stand in the yard, soaked pulp fiction essay blood, as someone hoses them off in front of the entire neighborhood. Nobody bats an eye at this. This is interesting, as it pulls the viewer into a separate world, pulp fiction essay, one in which violence and horror seems to be commonplace, pulp fiction essay, and almost comedic. If such obvious things as waving around guns in broad daylight and shooting people in a moving vehicle does not draw police attention to you, one questions how ridiculous the crimes would have to be before there would be police involved.
In addition to this gaping lack of police intervention, normally a necessity in a crime film, there is very little over the course of Pulp Fiction that does not seem to be solved violently. There, of course, are three major stories in Pulp Fiction: the tale of Vincent Vega and his untimely demise, the tale of Jules Winnfield and his retirement, and the tale of Butch Coolidge and his inability to throw a fight. Vincent and Jules seem to use violence to solve almost all of their problems, while Butch is a boxer who kills his opponent in the ring, and resorts to pulp fiction essay to keep himself alive from then on.
Admittedly, there is not much direct violence in this film, but violence still manages to overshadow the majority of the film, allowing the reader to anticipate far more violence and horror than is ever shown on screen. For the majority of the film, Pulp Fiction seems to glorify this violence. We start with a few jokes from Jules and Vincent, and then immediately jump into violence and threatening. That, however, is not the majority of the film. We see these protagonists talk to each other about nothing for long stretches of time, which allows us to identify with them, and bond with them to a degree. This sort of bond we form with the three protagonists — but especially Jules and Vincent — forces us to accept and almost enjoy the random and seemingly senseless acts of violence over the course of the film.
Vincent immediately quips about the horrible thing he has just done, and to the viewer, it is all portrayed as one big joke. Jules knows how to solve the problem of the dead man in the car, and Vincent is too strung out on heroin to be anything more than apathetic about it. Tarantino seems to up the ante over and over again with the horrific acts in the film, going from robbing a diner, to pulp fiction essay somewhat downplayed homicides, to stabbing someone viscerally in the chest, and so on and so forth upwards to rape and the wholly brutal scene with Marvin. The audience seems to become more and more desensitized to the violence as the film goes on, until it seems to just be a fact of life for the characters involved.
At some point, it starts to pulp fiction essay like the film is satirizing itself — or, to put it better, satirizing the uproar over violence in film and media. In this reading, Pulp Fiction is a movie that celebrates pulp fiction essay, in a sense. As a viewer, one is pushed into a situation where they root for these characters, even as they do horrific things, pulp fiction essay, and the plot moves forward even as we know one is pulp fiction essay to fail. The cyclical nature of the plot — beginning and ending at the same point, roughly halfway through the chronology of the film, accentuates this greatly, allowing the film to seem as if it is one jumbled circle, sandwiched on both ends by the threat of violence.
However, this is not the only meaning that lies within Pulp Fiction. To unpack a different meaning, and upend the stability of the interpretation that Pulp Fiction is merely a satire of violent films in general, one must merely look at and thoroughly analyze the character of Jules Winnfield. Jules is a hyper-competent hitman, hot-blooded, pulp fiction essay, intelligent, and intimidating. His frightening efficiency allows him to cover for his seemingly incompetent partner, but he seems to be the more morally troubled of the two. After their near-death pulp fiction essay, Jules proclaims it a divine miracle, while Vincent merely writes it off to luck.
Jules seems to be troubled with his conscience throughout the majority of the film, pulp fiction essay, deciding to retire after how badly the original job with Vincent went down. This morality present in the film seems to contradict the violence that is omnipresent throughout it, as Jules is one of the primary instigators of the horrific acts that happen over the course of the film, and also allows himself to play the role of the intimidator in the hitman duo. In addition to this, Quentin Tarantino allows two major acts of altruism to happen over the course of the film. First, the escaped Butch Coolidge, who could just run away, goes and saves Marsellus Wallace, the man who is planning on killing him. This act of kindness is reciprocated when Marsellus allows him to go free, ignoring the thousands of dollars that Butch had cost him.
This act of generosity is obviously well-compensated, but was not necessary to the film, especially when read as a celebration of violence. This moment might be the only truly heroic moment in the film, as Butch willingly puts his own freedom at risk to help his enemy. As a seeming reward for his heroic behavior, Butch is allowed to go free, riding off into the sunset with his girlfriend and thousands of dollars of stolen money. This contradicts the reading of the film as a celebration of violence, as even though this scene is violent, it is the man who acts to save someone else from violence who is the most successful over the course of the film. While the film celebrates violence on the macro level, allowing violence to seep into almost every scene of the film, the man who follows his pride and attempts to help someone else is the true victor.
This ideology can also apply to Jules Winnfield himself. Jules is a character defined by his crisis of faith, and the film seems to be bookended by his actions. The film begins and ends in a cafe, in the midst of a robbery orchestrated by two minor characters, ones who we never truly understand. Over the course of the film, we build the storylines leading to this moment, and Jules has a crisis of faith, allowing him to realize that perhaps the religious verse he misquotes horribly applies to him in more ways than just intimidation. The scene seems like a perfect set-up for a closing shoot-out, but instead Jules just stares them down, pointing a gun at Pumpkin, and talks them out of the cafe, after some interesting theological discussion.
Jules seems to realize that, over the course of his career as a hitman or enforcer, he has been used solely as a tool for evil men, pulp fiction essay, and he intends to rectify that by allowing himself the freedom to go off on his own and pulp fiction essay. It seems we are meant to believe that Jules was capable of dispatching these two on his own, pulp fiction essay, or at least stalling until Vincent came out with a gun, but instead he ushers them out the door, allowing them to continue their lives. His ability to allow the two criminals to go free with his money seems to break the circle of violence that the movie could have descended into, and instead give it a dual meaning, both about the violence that humanity is capable of and the acts of genuine kindness that we can also manage.
Out of the main protagonists, the only one who does not have this moment of pulp fiction essay, in which they allow themselves to act unselfishly, pulp fiction essay, is Vincent Vega. Butch goes back for the gold watch that was left at his house, and shoots Vincent, who, in a moment of idiocy, left his gun on the table and went to the bathroom. It seems telling that the man who does not change at all over the course of the film is pulp fiction essay only protagonist not to survive. Vincent, instead of accepting any of the chances to change offered to him over the course of the film, sinks into his heroin addiction in order to ignore any second thoughts about his life, and his uncaring attitude leads to his demise, pulp fiction essay.
Again, this conflicts with the view of Pulp Fiction as a satire of violent films, as the truly violent character is given his comeuppance in the middle of the film. In this sense, Pulp Fiction seems to function both as a satire of modern views on violence, and a cautionary tale as to what happens when society allows itself to entirely disregard the taboo on violence. without a police officer in sight, it also shows the audience the ramifications of accepting such a life, and such a world, fully, showing with near glee the violence that these men cause and the tragic stories of their lives.
It is renowned for its absurd and deadpan humor, its modern satirical tone, and most noticeably its disorienting and time-breaking storytelling techniques. In the film, three interlacing stories are presented about events relating to Marsellus Wallace, a mob boss. The second tracks Wallace himself, who attempts to track down a prizefighter named Pulp fiction essay who betrayed him. After both of them are taken captive, Wallace forgives Butch for rescuing him. In the final story, we watch Vincent and his partner Jules obtain a briefcase and later have a pulp fiction essay with a diner robbery. What follows is one of the most iconic scenes of the movie that still holds relevance in cinema history.
Additionally, the succeeding shot consists of Jules standing tall in the center of the room while Brett is seated on the right side eating a burger and his friend is lying down on the left side. On the frame, the vertical height of Brett and his partner is significantly shorter than the height of Jules, pulp fiction essay, and is furthermore off-center, pulp fiction essay. Jules is of utmost importance in this scene and has complete dictation of what happens. The tension in the scene, caused by the power that Jules exudes, is supplemented by the casual dialogue and nonchalant actions of Jules and his partner. Jules casually discusses a burger with Brett while Vincent walks to the kitchen. The following shot is an over-the-shoulder or rather an over-the-hip shot of Brett, with Jules away from focus in the foreground and Vincent away from focus in the background.
But even with the lack of focus, the very presence of the pair remind both the viewer and Brett that he is pulp fiction essay between the two and has no direction to escape. He even nervously looks in front and then behind him when Vincent walks towards pulp fiction essay kitchen. And the silence allows a buildup of uncertainty—and therefore tension—which is resolved by the discovery and opening of the suitcase, consequently transferring all of the power displayed by the characters into the suitcase and displaying the unparalleled importance of the suitcase. Through various filming, composition, pulp fiction essay, and editing techniques, Tarantino is able to effectively set the stage for the rest of the story by establishing not only the power but the dedication of the duo to completing their job of retrieving the suitcase.
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The Redemptive Elements of Pulp Fiction
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Jun 15, · June 15, by Essay Writer. Pulp Fiction, Quentin Tarantino’s arguably most popular film, is a complex pastiche of popular culture. Its unique blend of dark humor, violence, and nonlinear and disjointed storytelling, as well as its willingness to throw genres together with no seeming rhyme or reason, combine to make a story about the normal lives of a bunch of Pulp Fiction has built a cult following, even as its mother-freaking language and graphic violence offends others. Get Help With Your Essay If you need assistance with writing your essay, our professional essay writing service is here to help! Apr 04, · Words: Length: 5 Pages Document Type: Essay Paper #: Read Full Paper. Vincent Vega From Pulp Fiction. In Quentin Tarantino's classic film Pulp Fiction many of the characters seem to be stock "types" with which one might be familiar from other movies or forms of fiction
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