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¶ … Violence in Pulp Fiction
When the movie Bonnie and Clyde opened in 1967, Newsweek reviewer Joseph Morgenstern slammed the move as a "squalid shoot-em-up for the moron trade." (Goldstein) But a week later retracted his previous bad review and praised the movie. It was the violence that originally shocked the movie reviewer, but within a week, the shock of the rampant violence had worn off. Once this had happened, Mr. Morgenstern, like American society in general, came to accept that violence was acceptable in movies as an integral part of artistic expression. 27 years later, in 1994, another film was released which once again shocked critics for the violence it contained, Quentin Tarantino's Pulp Fiction.
In his film, Tarantino took the audience for a ride through the violent L.A. underworld complete with murders, drug overdoses, accidental shootings, and even a homosexual rape. (Tarantino 1994) While many initially panned this movie as overly violent, time has turned it into a classic of American Cinema. It is true that Pulp Fiction contains several scenes of extreme violence, but what needs to be asked is does the film use violence simply for it's shock value, or does it use...
based film noir, then violence is an integral part of that genre. (Hausladen 2005) The fact that Tarantino's film was made in a time when standards were not as stringent as when the classic L.A. film noir movies were made from the 1930's to the 1950's, allowed for a greater range of violence on screen. This type of genre is gritty and violent by nature and a modern attempt at this type of film would not work without the increased amount of violence.
While many may point to violence in movies as having a negative impact on children, the rating system currently in place provides parents with a guide to appropriate…
References
Alleva, Richard. "Pulp Fiction." Commonweal 121.20 (1994): 30+. Academic OneFile. Web. 4 Apr. 2011.
Hausladen, Gary J., and Paul F. Starrs. "L.A. noir." Journal of Cultural Geography 23.1 (2005): 43+. Academic OneFile. Web. 4 Apr. 2011.
Goldstein, Patrick. "Bonnie & Clyde & Joe & Pauline." L.A. Times. Article Collections. L.A. Times. Web 3 Apr. 2011.
http://articles.latimes.com/1997/aug/25/entertainment/ca- 25695
Tarantino, Quentin. "Pulp Fiction. (1994)- IMDb." The Internet Movie Database (IMDb). Web. 3 Apr 2011
By doing this, the film puts across feelings related to irony and sarcasm, as it apparently wants to ridicule a society that never seizes to amaze. It is as if the film is meant to be surprising by showing apparently improbable occurrences that are actually very likely to happen in real life. 2. The film does not follow Freytag's Pyramid and the only way for it to follow it was
Pulp Fiction: Mia Wallace One of the most striking visual images of Pulp Fiction is Mrs. Mia Wallace, Marcellus Wallace's wife. She is first shown putting on her vampire-red lipstick as she gazes at Vince Vega, who has been asked by Marcellus to 'entertain' her for a night. Everyone knows that Marcellus is a terrifying man, so Vince clearly has every interest in protecting Mia's 'honor.' Yet Mia is making herself
The use of this shot can be seen in the sequence where Marsellus gets run over by Butch and later when Butch is beating up one of the pawn shop owners. Tarantino is also known to use a long shot in his films. The use of a long shot can be seen shortly after the film's introduction as Vince and Jules discuss the differences between the United States and
Pulp Fiction, by director Quentin Tarantino, is 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. Specifically, the three narratives are called "Vincent Vega and Marsellus Wallace's Wife," a story of a man watching over his boss's wife and cannot touch her, "The Gold Watch," the story
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. Therefore, the appearance of one of them needs no introduction in the movie, but they are also expected to be somewhat one-dimensional characters that experience very little growth or development during the progression of the film. When
On the contrary, Jules initially seems far colder and less redeemable than Vincent. The best example of this is when Jules recites a verse from the Bible, "The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of