Pulp Fiction and Being John Malkovich: Narrative Analysis
This paper examines the narrative and cinematic techniques employed in two landmark films: Quentin Tarantino's Pulp Fiction and Spike Jonze's Being John Malkovich. The analysis of Pulp Fiction focuses on its non-chronological, multiple-narrative structure, explaining how its six interlocking episodes create thematic emphasis on moral choice, punishment, and redemption. The paper then turns to Being John Malkovich, exploring how its surrealist narration, claustrophobic mise-en-scène, sharp editing, and dark cinematography construct a dreamlike story world that comments on celebrity culture, voyeurism, and the desire for control. Together, the two films illustrate how unconventional storytelling structures can deepen thematic resonance beyond what traditional linear narratives allow.
- Introduction: Unconventional Narrative in Contemporary Cinema: Overview of both films and their non-traditional structures
- The Structure of Pulp Fiction: Episodes and Non-Chronological Order: Six-episode breakdown and circular bookending technique
- How Rearranged Chronology Develops Theme and Redemption: Moral choices, punishment, and character redemption arcs
- Being John Malkovich: Surrealist Narration and Story World: Surrealist logic and dreamlike narrative rules
- Mise-en-Scène, Cinematography, and Editing in Being John Malkovich: Claustrophobic spaces, dark lighting, and sharp editing
- Conclusion: Social Commentary and Thematic Resonance: Celebrity, voyeurism, control, and unresolved fable morality
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What makes this paper effective
- The paper moves logically from structural analysis (how episodes are arranged) to thematic analysis (what the arrangement accomplishes), demonstrating that form and content are inseparable in both films.
- The inclusion of a chronology table for Pulp Fiction grounds abstract claims about non-linear storytelling in concrete evidence, making the argument easy to follow.
- The transition between the two film analyses is smooth: both films are framed as examples of unconventional narrative that serves thematic purposes, giving the comparative essay genuine coherence.
Key academic technique demonstrated
The paper exemplifies text-based close analysis combined with secondary source support. Rather than simply summarizing plot, it traces cause-and-effect relationships between structural choices and thematic outcomes — for example, explaining precisely why Tarantino's bookending technique places Jules's redemption at the film's emotional climax. This move from "what happens" to "why it matters structurally" is the core skill of film studies writing.
Structure breakdown
The essay is divided into two self-contained film analyses, each proceeding from narrative structure to thematic implication. The Pulp Fiction section opens with a six-episode breakdown, then builds through three numbered arguments (circular narrative, audience puzzle, thematic emphasis). The Being John Malkovich section layers surrealist narration, mise-en-scène, cinematography, and editing in sequence before arriving at a social-commentary conclusion. Each section closes with a synthesis paragraph before the essay ends with a brief shared conclusion.
Introduction: Unconventional Narrative in Contemporary Cinema
Pulp Fiction, directed by Quentin Tarantino, is a prime example of a film that utilizes a multiple narrative structure. The film contains three narrative stories signaled by inserted captions and told in "episodes" presented non-chronologically. Specifically, the three narratives are called "Vincent Vega and Marsellus Wallace's Wife," a story about a man tasked with watching over his boss's wife without crossing any lines; "The Gold Watch," the story of a boxer who is supposed to throw a fight but refuses; and "The Bonnie Situation," the story of two hitmen as they prepare to kill someone and live through the consequences (LaFrance). The non-chronological presentation of these three stories does not mean there is no logic in the way the film's episodes are ordered. Each consecutive episode provides set-ups and pay-offs for linking bits of information, characters, and action — a structural feature that allows the audience to follow and piece together the temporal puzzle. The multiple narratives are therefore interrelated at a fundamental level, providing three interlocking stories that say more as a composite than any one of them could as an isolated narrative (Hassler-Forest). By utilizing an interrelated multiple narrative structure, Tarantino drives home his themes of amorality, evil, punishment, and redemption in a way that is stronger and more intellectually arresting than a traditional linear, single-narrative plot would allow.
Bibliography
Ebert, Robert. "The Secrets of Pulp Fiction (5/95)." God Among Directors Web Site. 10 Dec. 2002.
Elliot, Peter. "Funny Disturbing Fable Has Off-Beat Premise." Anglican Journal. Dec. 1999. 10 Dec. 2002.
Hassler-Forest, Dan. "Multiple Narrative Structures in Contemporary Cinema." 10 Dec. 2002.
Jonze, Spike, dir. Being John Malkovich. Perf. John Cusack. 1999. DVD. USA Entertainment, 2001.
LaFrance, J.D.P. "The Originality of Quentin Tarantino." God Among Directors Web Site. 10 Dec. 2002.
O'Brien, Harvey. "Being John Malkovich (1999)." 10 Dec. 2002.
O'Hier, Andrew. "Being John Malkovich: Director Spike Jonze Puts His Brilliantly Offbeat Twist on the '15 Minutes of Fame' Theory." Salon.com Arts & Entertainment. 29 Oct. 1999. 10 Dec. 2002.
Sragow, Michael. "Being Charlie Kaufman." Salon.com Arts & Entertainment. 1 Nov. 1999. 10 Dec. 2002.
"Surreal." Webster's New Collegiate Dictionary. 1981.
"Surrealism." Webster's New Collegiate Dictionary. 1981.
Tarantino, Quentin, dir. Pulp Fiction. 1994. DVD. Miramax, 1998.
Tatara, Paul. "Being John Malkovich — Reality Bitten." CNN.com Entertainment.
Villella, Fiona. "Circular Narratives: Highlights of Popular Cinema in the 90s." Senses of Cinema Web Site. 10 Dec. 2002.
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