pulp fiction revision

PULP FICTION

a)      Explore how far your chosen film or films are experimental in challenging conventional approaches to narrative

b)      Explore how far cinematography contributes to the ‘experimental’ identity of your chosen film or films

Characteristics of Experimental film

-          Deliberately opposing the conventions of mainstream cinema.

-          Refusal to be bound to the typical rules of telling a story.

-           rigorously re-evaluates cinematic conventions and explores non-narrative forms and alternatives to traditional narratives or methods of working.^[1] Many experimental films, particularly early ones, relate to arts in other disciplines: painting, dance, literature and poetry,^[2] or arise from research and development of new technical resources.^[3]

Though experimental film is known to a relatively small number of practitioners, academics and connoisseurs, it has influenced and continues to influence cinematography, visual effects and editing. ^[20]

The genre of music video can be seen as a commercialization of many techniques of experimental film. Title design and television advertising have also been influenced by experimental film. 

Features of Experimental film:

-Manipulating audio/visual elements in strange or novel ways, Eg:

-Fast moving layers of colours, shapes, splotches that create a disorientating and unique experience.

-Exploring how people model themselves after images provided by the media

-Minumum of language, preferring visual elements

-Rarely following narrative

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Scenes that show how Tarantino challenged conventional approaches to narrative:

-How does the parallel between the first and last scenes of the film show Tarantino challenged Todorov’s punctuated equilibrium. The first and last scene that create the circular narrative:

Cinematography: Low angle shot for the majority of the scene, the cinematography helps it to be evident that the story is set in a café. The deep depth of field in the midshot of Honey bunny allows the spectator to see the café background.

Mise en Scene: Organic representation of a real life café. The setting at the end is the evidently displayed as the same with the same tables, chairs and scenery etc, complementing the circular narrative.

Sound: completely diegetic until the freeze frame and loud non diegetic music plays. The spectator having previously been sutured into the film is now distanced by seeing this still image that reminds them this is not real life.

Performance: The long length of the scene allows the characters to be developed as psychopathic lovers and for the spectator to become familiar with their lifestyles. Honey bunny and Pumpkin act surprisingly nonchalantly whilst discussing bank robberies, Honey Bunny scratches her eye and goes about pouring sugar into her coffee as if she is preoccupied and engaging in what is a norm for her, talking about bank robberies. Honey bunny transforms suddenly and dramatically into a violently threatening character, staring intently over the restaurant, scanning it with her widened eyes.

Macro feature: dialogue heavy, the scene is held for a long time to build characterisations.

At the end of the film:

Mise en scene: to complete the narrative arc the setting goes back to the café at the beginning, again the deep depth of field allowing the spectator to confidently recognise and associate the settings.

Cinematography: mid closeup on the characters at less of a low angle to complement that the spectator is more familiar with them and to allow them to come across as less intimidating than at the start for example when we see the extreme low shot of them.

The repeated dialogue “Garson, coffee” allows the spectator to not only associate that they are in the same café but the change in camera angle of pumkin shows the spectator that the scene is set in the same precise moment of the film that they first witnessed. The change in angle clarifies to the spectator that the repetition of the line is not a flashback, but a slight change in perspective. The spectator is slightly more distanced from the character of Pumpkin and Honey Bunny.

Scene 4 and Scene 21

Cinematography: Low angle shots of Vincent and Jules From Brad’s diegetic gaze the spectator sees his inferior perspective of Jules.

Alternations between Closeups of Jules and mid shots of Brad.

Jules is placed centrally in the long shot whereas Brad is placed in the corner to make him seem insignificant.

Jules is always in the shot, in the POV shot from Jules we see this body.

The spectator is not shown what is  in the briefcase, this fits with the idea that the spectator is at a lower status than Jules and Vincent and are not entitled to this privaledge.

Tarantino popularised the use of low angle shots and can be seen as experimental for this reason.

Performance: Brad delivers his lines with a quiet tone of voice and a stutter.

Vincent and Jules are calm and in control, dominating the scene, this is complemented in COSTUME

Mise en Scene: Jules and Vincent’s matching suits appear overly formal and threatening. They allow them to stand out as figures of authourity. Jules stands out in his costume against the green and yellow background. The screen flashes orange during the shots to add chaos to the atmosphere. This resembles an expressionistic attitude toward filmmaking. Tarantino’s signature feature of guns and suits can be seen as unique and contribute toward the idea that he was experimental in his filmmaking.

Toilets are a motif as are guns and drugs and suits. Dialogue motivates many of the scenes and low angle camerawork, long low tracks all feature heavily.

Tarantino’s inclusion of the experimentalist theme: -Exploring how people model themselves after images provided by the media in the diner scene. And manipulating visual elements in unique ways.

-Mia draws a square which appears out of place and distancing to the audience, adding to the experimental nature of the scene.

-Mise en scene: COSTUME: Marylin Monroe and Buddy holly costumes, makeup and hairstyles are included to immerse the spectator in 50s culture  by demonstrating society modelling themselves on celebrity brand influence.