Therefore, the information on textual analysis and on the perspective of post-modernism shall alert the reader in the way in which the following representations have been identified and answered.
The select scene that this project shall analyse will be from 30 minutes into the film; from where Vincent, John Travolta, walks up the path to Mia’s, Uma Thurman, house; until about 47 minutes into the film; where Vincent and Mia are dancing and the screen dims to end the scene. The following representations are from this scene, and are analysed chronologically as to aid the reader; although this is technically not post-modern!
The first post-modern signifier that was identified was the use of C.C.T.V and radio, as a means of communication when Vincent enters Mia’s house. The signified is confusions over time and space; Strinati (1995). This use of advanced technology merely to speak to somebody so near by is reflective of society as a whole; in the sense that this is the age of the electronic media:
“….more and more people have perceived reality through the lenses of the electronic media.” Gozzi, Jnr (1999 p3).
This is obviously post-modern, as Vincent is confused when he hears Mia’s voice as he does not know where she is.
There is also intertextuality here, as Tarantino plays on the viewer’s knowledge of James Bond films. This is evident in that we see Vincent in black and white walking freely around the house, whereas Mia has her back turned towards her and we don’t see her face as she speaks into the microphone. According to Mills (2001 p87), this:
“….borrowing and rehashing of cultural texts…”
is directly post-modern.
The next post-modern signifier is the use of the drug Cocaine by Mia on a mirror. The signified is the breakdown of the distinction between culture and society; Strinati (1995). The use of this drug in the film is a metaphor for the blurred reality that we all live in. Mia gets high on the drug, and her distorted view of her reality represents our distorted view of our reality. According to Barthes (1972 p159), it is hard to grasp what reality actually is, in the sense of what is image and what is knowledge of image? Strinati (1995 p224) comments, almost coincidentally, that if reality looked into a mirror-the mirror being the media-then only a distorted view would be produced, and not a reflection of what is actually “real”. Therefore, this representation of the drug and the mirror is a classically post-modern; in its metaphorical connotations.
Another post-modern metaphor is the use of Elvis Pressley terminology in the car, on the way to the steakhouse. The signified here is style at the expense of substance and distortions of time and space; Strinati (1995). The use of these terms displays intertextuality with the past. Elvis Pressley died many years ago, yet his style of speaking has been consumed over and over since his death. It is only because of media saturation of society and high consumption lifestyles, that the “Elvis Sign” remains in society today; Denzin (1991 p5). Jean Baudrillard, as cited in Durham & Kellner (2001 p552), also comments on this, by saying that by:
“….substituting the signs of the real for the real….”
then what is the real?
This signifier is therefore of the post-modern code.
A similar post-modern representation is the focus by Tarantino upon a figure of eight remote controlled racing car circuit; inside the steakhouse.
The signified this time is the breakdown of the difference between culture and society; Strinati (1995).
This representation is a metaphor for the media consuming culture and then reproducing it and then consuming it and then finally producing something un-original that does not reflect the real world. The fact that it is a figure of eight track compounds this point; as the toy cars will go round the track into infinity; Marris et al (1996 p235/236). The bright colours intertwine with the high speed of the cars and therefore represent our blurred world; Gozzi, Jnr (1999 p77). This representation is undeniably post-modern at heart.
The next post-modern sign is the point at which there is a Marilyn Monroe waitress as the two characters enter the steakhouse; along with numerous posters and photographs of film and music stars on the walls.
The signified here is the breakdown of the difference between culture and society, confusions over time and space, and style at the expense of substance; Strinati (1995).
According to Denzin (1991 p9), the media has the want to tell everything. This is true for this representation as the whole restaurant is plastered with images of past and present celebrities. These cultural signs dominate the environment and as Angela McRobbie comments, as cited in Marris et al (1996 p251); once images and surfaces intrude upon our everyday lives then there is no going back. This is true for this sign, as Vincent and Mia are going to have dinner-there is no need for all of these images. Thus there use is pointless and they are consumed just for the sake of consuming tem. As Barthes (1972 p98/99) states:
“….ultimately, objects will be invented for the sole pleasure of using them.”
Mills (2001 p89) supports this, but also adds on how the fabric of time and space has enveloped itself, leaving the viewer of this representation in a hybrid of the past and present in every one moment.
This is therefore a metaphor for the post-modern world that we all inhabit.
Following this there is the representation of Mia and Vincent having their meal inside a car, ordering a $5 shake and using “cowboy” and “cowgirl” terminology to each other.
The signified in this example is the breakdown of the distinction between culture and society, confusions over time and space, and the representation of style at the expense of substance; Strinati (1995).
The fact that Vincent refers to the steakhouse as a:
“Wax museum with a pulse”
sums up post-modernist theory perfectly. This is because there is no need for the car. It is an image that is being consumed for the sake of consuming it; Denzin (1991 p7). Marris et al (1996) comments on the implosion of society because of media saturation. This is more than evident here as Vincent firstly walks past the car on thinking, logically, that he would not be eating in it. However, Mia calls him back and he realises he walked past his “table”. This demonstrates distortion of reality in post-modern society; Strinati (1995 p238/239). The shake is called a “Martin & Lewis”; though its name means absolutely nothing other than that of a name; consumption for consumptions sake-Mills (2001 p91). This is also the case with the use of terminology such as “cowgirl” and “cowboy”. Therefore, these examples demonstrate hidden meanings that show pulp fiction to be a post-modern production.
Another representation of a post-modern sign is the reference made to Vincent as just coming back from Amsterdam and Mia referring to her “15 minutes”.
The signified for this example is confusions over time and space and the breakdown of the difference between culture and society; Strinati (1995).
Amsterdam is a “real” city in the “real” world. Therefore it is representative of post-modernist theory that it is being discussed by our two characters. This demonstrates confusion over time and space as what do we now define as reality? Mia’s “15 minutes”, and the discussion over her starring role in a pilot show, both refer to mass communication through advanced technology. This is also a metaphor for the post-modern world that we live in. Mills (2001 p88) summaries these points:
“Through consumption we can be who we want when we want, changing from one minute to the next…there are only versions of the world and individual interpretations of it, rather than any real sense of genuine reality.”
Therefore, these representations are post-modern.
The representations of a smoky atmosphere at the table followed by an “uncomfortable silence” are both metaphors that can be explained through post-modern theory.
The signified for this example is breakdown of the distinction between culture and society; Strinati (1995).
The smoky atmosphere can be seen as a metaphor for how hazy, blurred and distorted reality actually is. This is the result of media saturation, by dominating our culture with signs and images; Mills (2001 p86).
This is also represented in the “uncomfortable silence” that follows. It could be argued that the reason it is “uncomfortable” is that there is a lack of distortion by the media; a lack of intrusiveness into their evening; and it is because they are so used to the noise of the media that when it is almost absent they become scared and confused. Nevertheless, the music quietly continues to play- a metaphor for how we can never banish the media completely from our lives now that it has entered; Durham & Kellner (2001 p514).
This representation is therefore post-modern in its essence.
Following on from this, there are the representations of Mia getting confused over the “two Marilyn Monroe’s” followed by Vincent getting confused over the circumstances of his dating predecessor “Tony’s” death.
The signified on both accounts is the confusion over time and space; Strinati (1995).
According to Denzin (1991 p35):
“….reproduction has replaced production.”
This is demonstrated by the reproduction of the image of Marilyn Monroe. Mia is confused as time and space have been distorted, and all that is left is the knowledge that:
“…contemporary culture is a simulation of the real.” Marris et al (1996 p12).
This is compounded by Vincent who finds it hard to understand and explain what happened to Tony; the man who took Mia out on a date for Marcellus Wallace and by some way or another, fell out of a top storey window- the rumour being that he gave Mia a foot massage!
Vincent refers to the fact that “They” told him about this information before Mia replies that “They” talk a lot. The use of the word “They” is a metaphor for the media and there constant saturation of reality through the recycling of the past and its signs. The end result is confusion for both Mia and Vincent; a metaphor for how confused we all are with this post-modern world that we live in; Marris et al (1996 p249).
Therefore these representations are fundamentally post-modern in spirit.
The final representations that this project shall analyse is when Mia and Vincent enter the “World Famous Twist Contest” and begin to dance to a Chuck Berry song as the background is coated with layers of images of film and music stars.
The signified here is the breakdown of the difference between culture and society along with style at the expense of substance; Strinati (1995).
Firstly, the fact that the contest is “World Famous” is a sign of post-modernity; as only the media could make something world famous; coca-cola for example.
However, the main post-modern sign that is represented here is Vincent, or should it be said John Travolta dancing. Travolta starred in both Grease and in Saturday Night Fever; both of which he had the role of characters who liked to and were good at dancing. Tarantino plays on this effect by getting Travolta to dance once more. Thus, there is an underlying joke because the director is using the fact that the audience is knowledgeable. This is a parody. It is representative of post-modern theory through and through; as the intertextuality and style are prominent features of this scene. Strinati (1995 p229-231) agrees with this, by commenting on how this is an imitation of the past rather than a reflection of the present.
Durham & Kellner (2001 p588) state that postmodernism rejoices in:
“….consumption and celebrating obsessions.”
John Travolta dancing and Rock’n’Roll are two such obsessions in our culture.
As the two characters dance there is many signs and images to be seen in the background of, the already mentioned, music and film stars. One in particular attracted attention in that it was the blurred image of a coca-cola sign; perhaps this could be interpreted as how the world of the “real” becomes a landscape hard to interpret in that it positions the consumer on unknown terrain.
Therefore, these representations are a metaphor for the post-modern world today. It could even be said that Vincent and Mia are dancing to the tunes of post-modernity!
Therefore in conclusion, I have analysed a select number of scenes of the film Pulp Fiction. The in depth scrutiny, through the use of textual analysis or semiotics, that this project has made has revealed that this cultural text is post-modern in many aspects. In fact the film as a whole could be thought of as a post-modern film; as the narrative continually jumps from one character to the next and the time and space that these characters inhabit is repeatedly distorted. This is corroborated by the fact that there is a heavy reliance upon images and signs in the film; this is typically post-modern. This project started off on a quest to assess: How Post-Modern is the Film Pulp Fiction? It is clear from my analysis that the film reeks of post-modernist theory. However, there are limits to Textual analysis and to Post-modernism. In terms of the limits of textual analysis: Why one interpretation rather than another? Everybody interprets things differently; therefore this work is naturally coming from a subjective point of view. Also by neglecting both the context of consumption and production this project has failed to provide a full analysis. Post-modernism has limits also. These range from: Exaggerating the importance of the mass media and consumerism, a lack of empirical evidence, a xenophobic view to of the contributors to reality, an ignorance of individualism and ignorance towards how intertextuality is as old as human beings. The author hopes that these limits shall be taken into account. Pulp Fiction is a post-modern film; it is just a matter of time before we see its images recycled into “New” cultural texts.
M.G Durham & D.M Kellner Media and cultural studies; Keyworks Blackwell Publishing Germany 2001
S.Miles Social theory in the real world Sage Publications London 2001
R.Barthes Mythologies Vintage Publications London 1972
P.Marris & S.Thornham Media Studies; a Reader Edinburgh University Press Edinburgh 1996
R.Gozzi Jnr The power of the Metaphor; in the ages of electronic media Hampton Press Inc. U.S.A 1999
R,Hodge & G.Kress Social Semiotics Polity Press Oxford 1988
D.Strinati An introduction to the theories of popular culture Routledge U.S.A & Canada 1995
N.K.Denzin Images of post-modern society; social theory and contemporary cinema Sage Publications London 1991.
