Pulp Fiction: Mia allace
One of the most striking visual images of Pulp Fiction is Mrs. Mia allace, Marcellus allace'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 up, much as a woman who is about to go on a date. But after seeing Mia's lips first, and expecting a bombshell, the viewer is somewhat surprised to see that Mia's clothing and appearance is extremely stark, almost Spartan, other than her lipstick.

Mia boasts a Louise Brooks-style black bob that is obviously a wig. For a glamorous failed actress, her outfit seems almost mannish. She wears a stiff white starched shirt that looks like it was purchased from the…...

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Work Cited

Pulp Fiction. Directed by Quentin Tarrintino, 1994.

y 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 if it were to be divided in several chapters and analyzed individually.

3. Prologue (rising action) -- Vincent Vega and Mia (rising action) (complication) (climax) (reversal) (falling action) -- Prelude to the Gold Watch (rising action) - the Gold Watch (complication) (rising action) (catastrophe -- for Vincent) (complication) (climax) -- rett's friend (complication) -- Epilogue (climax)

4. The plot's order is meant to confuse viewers with the purpose of having them feel satisfied as they slowly but surely learn more about the…...

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Bibliography:

Barsam, Richard, and Monahan, Dave, "Looking at Movies: An Introduction to Film (Third Edition)," (W. W. Norton & Company)

Dir. Quentin Tarantino. Pulp Fiction.Miramax Films, 1994.

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 of a boxer who is supposed to throw a fight but does not, and "The onnie 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 episodes of the movie are ordered. Each consecutive episode of the film provides set-ups and pay-offs for linking bits of information, characters, and action, a structural feature of…...

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Bibliography

Ebert, Robert. "The Secrets of Pulp Fiction (5/95)." God Among Directors Web Site. 10 Dec. 2002.  http://www.godamongdirectors.com/tarantino/faq/secrets.html .

Elliot, Peter. "Funny disturbing fable has off-beat premise." Anglican Journal. Dec. 1999. 10 Dec. 2002.  http://www.anglicanjournal.com/125/10/af08.html .

Hassler-Forest, Dan. "Multiple Narratives Structures in Contemporary Cinema." 10 Dec. 2002.  http://www.euronet.nl/users/mcbeijer/dan/mns/ .

Jonze, Spike, dir. Being John Malkovich. John Cusak, perf. 1999. DVD. USA Entertainment. 2001.

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 Amsterdam in regards to marijuana and hamburgers.
One of the most interesting aspects about Pulp Fiction is its unique editing. The film's narrative is heavily dependent on Tarantino's creative narrative as he employs non-linear editing. For example, the film begins and ends with Vince and Jules eating breakfast at a diner with jump shots being used throughout the film to connect the various subplots together. In the film, character interactions help to create a cohesive narrative as Tarantino demonstrates how they…...

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 Vincent and Jules appear at the beginning of the movie, they are clearly identified as thugs, so that one expects them to break laws, intimidate people, and be involved in illegal dealings. That they are so involved does not require any explanation in the movie. However, while the characters may be types, there is also a deeper meaning running through Pulp Fiction. The characters, though involved in the sometimes superficial, sometimes deadly, business of daily life, are experiencing the existential…...

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References

Tarantino, Q. (1994). Pulp Fiction. Los Angeles: Miramax Films.

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…...

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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.

  25695http://articles.latimes.com/1997/aug/25/entertainment/ca -

Gothic Fiction
Dracula is a far more traditional Gothic novel in the classic sense than the four books of the Twilight series, in which Bella Swan and her vampire lover Edward Cullen never even fully consummate their relationship until they are married in the third book Eclipse, and Bella does not finally get her wish to become a vampire until the fourth and final book Breaking Dawn. Far from being Edward's victim, or used as a pawn and discarded, she is eager to leave her dull, empty middle class life behind and become part of the Cullen vampire family. When she nearly dies giving birth to their half-vampire daughter, Edward finally does 'turn' her to save her life, and to paraphrase the title of the old song, we can only hope that she is satisfied. Bella in fact is a very traditional and conservative character, including her religion and even her…...

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References

Branch, L. 2010. "Carlisle's Cross: Locating the Past in Secular Gothic" in A.M. Clarke and M. Osburn (eds). The Twilight Mystique: Critical Essays on the Novels and Films. McFarland & Company Publishers: 60-79.

Byron, G. 2008. "As One Dead': Romeo and Juliet in the Twilight" in J. Drakakis and D. Townshend (eds) Gothic Shakespeares. Routledge: 167-86.

Meyer, S. 2005. Twilight. Little, Brown and Company.

Meyer, S. 2006. New Moon. Little, Brown and Company.

The scene between Jules, Vincent and Brett is one that clearly defines Hollywood's obsession with depicting the classic struggle between good vs. evil, but with a humorous twist that makes the scene appealing to a variety of audiences.
Violence is definitely evident in the words, deeds and actions of all the characters portrayed in the film. It is so available and accepted in fact, that an outsider looking in might presume that violence was the 'norm' rather than an extreme aspect of pop culture within the United States.

The filmmaker successfully depicts the paradoxical nature of violence in this movie, and attempts to incorporate the struggle of good vs. evil into the every day actions of many of the characters, in particular the lead character Jules. No where is this more evident than when Jules quotes "Ezekiel" noting that righteous men will always be beset on all sides by the 'tyranny…...

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Reference:

Massing, Michael. "Movie Violence, Still Playing." Washington Post, Sunday July 4, 1999. p. B01, Retrieved March 8, 2005: http://www.lionlamb.org/movie_violence_still_playing.htm

Olinger, O.J. "Liberal Hollywood?" JDHauser.com, 2003. Retrieved March 8, 2005: http://www.jdhauser.com/Olinger/olinger_072203

Schneider, J. (2004). "New Hollywood Violence." Manchester: Manchester University

Press; as reviewed by Tom Gordon, 2003. Retrieved March 8, 2005: http://members.bellatlantic.net/~sschneid/NHV.htm

Many critics consider the name Godot to be a hidden name for God. Godot in the end is a paradox. The dramatist described in his play the person at the end of the World War II. It is a person who can be characterized as master and victim of will. The characters have a will but their wishes destroy them. The characters are waiting for someone or something to save them.
From the aesthetic point-of-view the postmodernism movement pleads for an anti-narrative structure of the work. Tarantino's film, "Pulp Fiction," doesn't have a classic plot. Two stories that seem unrelated come together in a "non linear plot." The first story is about two thieves, Honey unny and Pumpkin who decide to rob a restaurant, and the second story of two hit men working for mob, named Vincent and Jules.

The novel "Finnegan's Wake" by James Joyce is constructed using strange loops…...

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Bibliography

Klages, M. 2003 "Postmodernism." University of colorado.  http://www.colorado.edu/English/courses/ENGL2012Klages/pomo.html 

Wikipedia The Free encyclopedia, "Posmodernism"  http://en.wikipedia.org/wiki/Postmodernism 

Wikipedia The Free encyclopedia "Waiting for Godot"  http://en.wikipedia.org/wiki/Waiting_for_Godot 

Wickipedia The Free encyclopedia "Finnegan's Wake  http://en.wikipedia.org/wiki/Finnegans_Wake

After all, when Marcellus is raped, the audience has witnessed the murder of two college students by Marcellus' hit men, and knows that Marcellus had a former ally thrown off of a roof for an unknown reason. In addition, it is because of Marcellus' orders that Vincent, whom the audience has grown to like, is killed at Butch's house. Marcellus is clearly not a good man, and yet, nothing in the movie suggests that he deserves to be raped by Zed and Maynard. It was significant that Tarantino chose Marcellus, the most criminal person in the movie, as the rape victim. It was even more significant that Tarantino chose Butch, the person with the most motive to see Marcellus injured, as Marcellus' rescuer. ather than dehumanizing people, the violence in the movie humanizes the monstrous Marcellus, both by depicting him as a victim and by showing him getting revenge.…...

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Referenced

Scorsese, Martin. Taxi Driver. Los Angeles: Bill/Phillips, 1976.

Scott, Ridley. Thelma & Louise. Los Angeles: Metro-Goldwyn-Meyer, 1991.

Tarantino, Quentin. Pulp Fiction. Los Angeles: A Band Apart, 1994.

Winner, Michael. Deathwish. Universal City, CA: Dino De Laurentiis Company, 1974.

Every aspect of sociology is somehow affected by sexual politics and this can be seen in every postmodern representation of sexuality. Media is particularly dependant on sexual politics as a thematic representation and as a guiding force for human emotion. This is particularly true with regard to dramatic representations in film. The two films discussed above can be seen as examples of this thesis and illuminate both postmodernism and sexual politics in the modern world.
orks Cited

Cohen, Eric S. "To onder Again." First Things: A Monthly Journal of Religion and Public Life May 2000: 23.

Films That Go Thud; Some Actors Can Survive Bomb or Two." The ashington Times 5 Aug. 2003: B05.

Green, J. Ronald. "Always Already: Affinities between Art and Film." Afterimage 25.5 (1998): 8.

Hausladen, Gary J., and Paul F. Starrs. "L.A. Noir." Journal of Cultural Geography 23.1 (2005): 43.

Kipnis, Laura. Bound and Gagged: Pornography and the Politics of Fantasy…...

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Works Cited

Cohen, Eric S. "To Wonder Again." First Things: A Monthly Journal of Religion and Public Life May 2000: 23.

Films That Go Thud; Some Actors Can Survive Bomb or Two." The Washington Times 5 Aug. 2003: B05.

Green, J. Ronald. "Always Already: Affinities between Art and Film." Afterimage 25.5 (1998): 8.

Hausladen, Gary J., and Paul F. Starrs. "L.A. Noir." Journal of Cultural Geography 23.1 (2005): 43.

Real Cool Killers: Evaluating the Status of omen Through Chester Himes
The world of Chester Himes is wrought with violence and turmoil. The story behind The Real Cool Killers is a murder mystery, where African-American cops rule over Harlem to catch a murderous pack of thugs. Still, there is a lot more beneath the surface here. Chester Himes also presents a social commentary on the status of women at the time. In this commentary, he signifies how women were still struggling against their male oppressors, and that even though there are some clear gains being made here, they are in many ways still being oppressed and treated like sex objects more than anything else throughout the novel.

The Real Cool Killers is a pulp fiction type of novel with a set of anti-hero African-American police officers solving a senseless murder on the streets of Harlem. The pair of police is Grave Digger…...

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Works Cited

Himes, Chester. The Real Cool Killers. Random House. 2011. Google Books. Web.  http://books.google.com/books?id=9lzxJv5W8MUC&printsec=frontcover&dq=the+real+cool+killers&hl=en&sa=X&ei=5blvUZqPJuPx2QXC14HwCA&ved=0CDEQ6AEwAA#v=onepage&q=granny&f=false

Emma likes the type of pulp, romantic and sentimental fiction condemned by Nabokov, the 19th century version of Harlequin Romances. Emma is not an artist of prose like her creator, she is a consumer of written culture in a very literal as well as a metaphorical sense, just as she consumes all sorts of material goods in her futile quest for fulfillment, and dies by consuming poison at the end of the novel.
his is what makes Emma so fascinating as a character. She engages in the same project of interpretation and authorship as her reader, even if it is a failed project. "But what interests me most in Madame Bovary is the heroine's fondness for reading. She dies because she has attempted to make her life into a novel -- and it is the foolishness of that quest that Flaubert's clinical style mocks." (Jong, 1997) Emma essentially dies of…...

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The paradox of Flaubert's project of writing to satirize reading is clear, through Jong's interpretation of his most famous work. "A novelist mocking a heroine besotted by novels? Then this must be a writer mocking himself! And indeed, Flaubert memorably said that he had drawn Madame Bovary from life -- and after himself. 'I have dissected myself to the quick,' he wrote." (Jong, 1997) This acts as an important reminder that Flaubert did not merely carefully observe and record the mundane details of the world he saw around him, but also engaged in rigorous psychological self-scrutiny to produce a sense of realism within the pages of Bovary. Emma's interior life, however focused it may be centered on shallow objects and pursuits, is what makes her stand apart from the depicted heroines of pulp novels. Flaubert's prose is not merely descriptive and realistic. It also is psychologically full of nuance and more detailed than authors of sensationalist novels, whose heroines do not have a clear, discernable motivation for why they transgress sexual norms.

Although Jong's own fiction is often described as feminist, Jong points out that Emma's sense of discontent with her life is not merely connected to the fact that her feminine role as a housewife is frustrating. Emma does not seek a more useful life, Emma seeks "ecstasy and transcendence" that is in short supply in her rural French community. Jong's stress upon the spirituality of Emma's quest is an important reminder of the fact that Emma begins her education in a convent, and actually seems to show a superficial aptitude for the life of a nun. Emma later brings her fervor for gracious living to her life as a wife, then a mistress. Emma's inner life may seem to be centered around the pursuit of empty things, like beautiful home goods, dresses, and beautiful love affairs, but she is located squarely within a society that valorizes such objects and offers them as the only secular solution to ennui. "Emma's drama is the gap between illusion and reality, the distance between desire and its fulfillment." (Jong, 1997)

Jong says: "her search for ecstasy is ours," in short, Emma is a uniquely modern heroine, for we all seek transcendence, all of us who read, and life invariably falls short. This is the final paradox of Bovary -- a novel that critiques itself and a genre likely to be very dear to the heart of a reader is so successful, and still feels modern today. Although Jong's essay does not offer an extensive, deep interpretation of the entire novel, it acts as an important reminder of critical aspects of the work that may be overlooked, like the role of religion in the novel, and the importance of reading to Emma's interior life.

In other words, did Grisham begin writing in order to reveal the innate ambiguities and machinations of the legal system - or were there other unrecognized facets and factors at play that led to this turning point in his life?
These questions become even more pronounced when we take into account his expressed views about his own writing. In many interviews, Grisham tends to assert that his literary work is not of a very serious or profound nature and instead of having any deeper social intentions his writings are essentially only meant to entertain. As he states in one interview:

I'm not sure where that line goes between literature and popular fiction...I can assure you I don't take myself serious enough to think I'm writing literary fiction and stuff that's going to be remembered in 50 years. I'm not going to be here in 50 years; I don't care if I'm…...

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References

Time to Kill" by John Grisham. Retrieved April 27, 2008, at eafa0329abhttp://www.schoolunity.de/schule/hausaufgaben/preview.php?datensatzkey=004747&query=action%3Dsuchen%26seite%3D2%26suchbegriff%3Dnone%26fach%3D11%26nosave%3D1&session=a78afa575fac023f63f342

For Posterity: The John Grisham Papers. Retrieved April 27, 2008, at  http://library.msstate.edu/grisham_room/writer 

Interview: John Grisham, Author. Retrieved April 27, 2008, at  http://www.slushpile.net/index.php/2006/03/01/interview-john-grisham-author/ 

John Grisham has no illusions about Writing. Retrieved April 27, 2008, at  http://community.livejournal.com/ohnotheydidnt/20470275.html/posterity.htm

They went into a spending frenzy that would carry them though the next decade. They bought houses, started families and settled down to a life of normalcy after a decade of chaos. Illustrations began to return to resemble that of fine are of earlier times.
The Invitation. Ben Stahl. Date unknown magazine photo. Al Parker. Date unknown

ise of the Atomic Age (1950-1960)

The prosperity that came with the end of the war continued into the new decade. Americans attempted to settle into a life or normalcy. There was a significant return to traditional gender roles, as many women were forced back into the household and the men went off to work as usual. Women, now used to providing for themselves represented a new target market. To fill their days they read the "seven sisters" (McCall's, Ladies Home Journal, Cosmopolitan, edbook, Good Housekeeping, Seventeen, and Women's Day). These magazines began to dictate…...

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References

Crow, T. 2006. The Practice of Art History in America. Daedalus. 135, no. 2. Questia Database.

"Jesse Wilcox Smith" 2000.  http://www.bpib.com/illustrat/jwsmith.htm 

Reed, Walter and Reed, Roger. 2008. The History of Illustration. Society of Illustrators. Online.  http://societyillustrators.org/about/history/283.cms 

Murphy, J. 2007. Making Virtual Art Present. Afterimage. 35, no. 2. Questia Database.