Attempt to stylistically analyze the film, Pulp Fiction (Tarantino, 1994).

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In this essay I will attempt to stylistically analyze the film, Pulp Fiction (Tarantino, 1994), concentrating on stylistic systems such as sound, editing, cinematography and mise en scene. I will to relate these cinematic techniques to the themes (particularly redemption), as well as the characters and story, found within the film. In so doing illustrate how they influence the way in which the spectator perceives these themes.  

Pulp Fiction (Tarantino, 1994) can be categorized as a cult comedy/gangster drama. Key themes of such genres are violence, loyalty, retribution, and redemption. All of these themes are found through out the film, contained within several primary scenes, which vary in the way that they convey these themes. Mise en scene is an important stylistic devise used well within this film to communicate the main thematic elements. In the following paragraphs I will discuss the four fundamentals of mise en scene within certain scenes and how they relate to the film as a whole.          

The lighting in the film is used very effectively to bring across mood and time as well as give the viewer an idea of how we should react to the character concerned in the shot. In scene in the film where we are introduced to two new characters, Marcellus and Butch, the lighting in this scene is tinted red, this could connote the sleazy nature of the bar that they are in (a strip bar) or even the mood that Butch is in. He is being asked to throw a fight and he is not very happy about doing this. Red is a colour that we associate with blood and violence, and ties in with the themes of violence and retribution.

 The scene that I have transcribed takes place in the morning so the light is very soft so as not to detract from the reality of the scene, or the verisimilitude (Bordwell and Thompson: 1997). Through lighting we assume that it is morning, we are not told that it is so. The characters, Jules and Vincent, are lit from the side to create definition of features as they are in a badly lit car. It is the first time the audience is introduced to them, the lighting doesn’t hint at anything about the characters and remains rather neutral, the costume appears to contain no meaning, but gains relevance in the scene which follows. Camera shots and angles have an extremely vital, yet unconscious, effect on the viewer. The scene starts with an establishing shot of the two characters within the car, as an introduction, a straight-angle profile shot. The camera then moves to an area between the men placing the viewer as a third party within the car. The camera is placed slightly behind the characters, placing the viewer as an alienated third person in the car rather than trying to allow identification. We are not encouraged to make any character judgements but this soon changes when the two enter the block of flats.  

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Jules and Vincent are walking along a corridor, on their way to murder several people; the only light is coming from the ends of the corridor. This could possibly be symbolising the light at the end of the tunnel, often talked about as being what one sees when one dies. Light in this sequence has a biblical effect and alludes to future events in the film. When they enter the flat where the boys are having breakfast, Jules is lit from the back and the top creating a halo effect, giving him an angelic appearance. This links in well ...

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