Introduction: Identifying the Film and Its Comparative Frame
Quentin Tarantino is a genius aesthete and walking encyclopedia, director of inimitable bloody scenes, author of unforgettable dialogues, and a collector of icons. His creation, Pulp Fiction, has revived the career of John Travolta, made Samuel L. Jackson and Uma Thurman look great, gave Bruce Willis new leverage, and turned Harvey and Bob Weinstein into famous movie producers. The 159-page script was finished in May 1993, and the film, released in the U.S. in a fanzine style and crime drama genre, was revolutionary for the 90s.
It was the first independent film to break all the rules, later followed by no less unique masterpiece Kill Bill, confirming the complete rethinking of mainstream cinema. His films are Disneyland for the cinephiles, with numerous references, quotes, and passages. Tarantino is a true child of postmodernity, inspired not by real life but by its reflection on the screen. The nonlinearity of events and the distinctive positioning of the films are the common thread between Pulp Fiction and Kill Bill, which, despite their differences, mark a pioneering change from the straightforwardness of filmmaking.
Contextual Background: Situating the Film in Time and Space
The recognition of Pulp Fiction results from Tarantino’s innovative approach that goes against time and space. The plot of Pulp Fiction begins with episodes about the inhabitants of the underworld in Los Angeles, a typical or even banal place for cinema of the time (Tarantino, 1994). However, Tarantino deliberately changes the narrative’s tone and takes the viewer out of the familiar environment with blatant violence. He creates fresh films out of the typical stories, but above all, with thundering brutality. Pulp Fiction is an elegy to the depraved and violent world of the ’90s (Guthrie, 2019). However, it is impressive to see how a classic theme in the history of American cinema is completely reinterpreted with stunning, unique elements.
Comparative Analysis: Interpreting Similarities and Differences
Tarantino’s films are a statement against the inherent product placement practices. Especially in U.S. culture, marketing and advertisement have a unique place. However, instead of giving his characters Marlboro or Lucky Strike cigarettes, Tarantino invented his tobacco brand, which has appeared in Pulp Fiction and Kill Bill (Guthrie, 2019). Moreover, Big Kahuna Burger, which is present in both movies, is another protest against big monopoly companies.
At the same time, both Tarantino’s movies epitomize the 90s era, a period of gangsterism and violence (Guthrie, 2019). The social values embodied in the characters in the films confirm that criminals are unaware of their marginality. Except for passers-by who get hit by stray bullets, there is no normal, non-criminal person.
Nevertheless, despite the abundance of blown brains, the films are amoral but not violent. It is their fundamental difference from the classics of the black genre of the 90s, which, for all their moralism, are very violent (Guthrie, 2019). The violence in Tarantino’s films is such a natural form of expression that it is perceived unemotionally and ornamentally.
Both movies exhibit the director’s signature moves: a tale of honor among criminals, eclectic references, a love of spectacular bloodshed, and specific camerawork. However, they likewise have differences; for example, Pulp Fiction has numerous close trunk scenes showing which characters are dangerous and which are the victims (Tarantino, 1994). A corpse shot is common for Kill Bill, especially when Budd hovers over Bride.
Moreover, when the viewer is shown how the heroine prepares to take revenge on her abusers, the cameraman uses the god gaze technique (Tarantino, 2003). It allows the viewer to feel that what is happening is approved by a higher power and has a certain mythicalness. Such distinctions demonstrate that, despite the different techniques, Tarantino’s films are specific and particularly technological.
Chronology
The action of the films does not develop in chronological order, which is the director’s style’s main conceptual and thematic feature. In Pulp Fiction, the scenes in the movie are shown inconsistently, and at first, one wonders why Vincent is dressed strangely and why there are a couple of robbers in a restaurant initially (Tarantino, 1994). This approach intrigues the viewer and shows a linear story from different angles. The pivotal scenes are given out precisely at the right moments without following a direct chronology of events.
The movie Kill Bill likewise demonstrates a broken chronology. The viewer immediately finds oneself with the bride on the doorstep of one of her arch-enemies, only to figure out the reason for their feud fleetingly (Tarantino, 2003). Following this, one gets out with her from the hospital, where she is confined to a bed in a four-year coma. Nonlinearity as a major similarity is significant because the absence of a direct order is the hallmark of Tarantino, unifying his work, which becomes a complete rethinking of the traditional approach to filmmaking.
Visuals
The hallmark of Quentin Tarantino’s films is not only the violence and dialogue but also the stylish visuals. The characters’ costumes and the setting in which they are placed are chosen successfully. Even though the costumes of Vincent and Mia in Pulp Fiction are minimalistic, they stand out against the background of the dance floor.
At the same time, the main villain of Kill Bill is portrayed in a white kimono that blends into the snowy landscape (Tarantino, 2003). Both films combine precision in costumes and sets with outrageous inconsistencies in dialogue and design, such as the music. Each director’s creation is like a music box, with both popular hits and obscure compositions hidden at the bottom, which are given a second life.
Structure
It should be noted that the structure of Tarantino’s films is always clearly calibrated and calculated. Each thought voiced in the frame is a significant brick in the foundation of the entire film. Sometimes, these conversations reveal the characters and their backstory, and sometimes, the conversation reflects the world around them with frequent references to pop culture and history. The peculiarity lies in the ability to create a dialogue on an abstract topic in the middle of a grid structure. For example, Vincent Vega and Mia Wallace’s flawless dance made Pulp Fiction famous (Tarantino, 1994).
At the same time, in Kill Bill, the scene is interrupted by a thorough philosophical monologue about the role of Superman. Despite plot differences, both movies have a tight connection. Uma Thurman’s character in Pulp Fiction tells the story of filming in the pilot. The descriptions of the show’s characters are the same as the characters in Kill Bill. Indeed, each film is distinctive, but all the similarities and differences only confirm the genius of the director, whose unique scripts go against the rules of traditional cinema.
Conclusion: Reflecting on the Comparative Insight
Therefore, Pulp Fiction opened a new era in cinematography, ending the protracted crisis of searching for new forms and combining genres. Cinema was changing rapidly, and the seemingly banal, non-linear narrative had a bombshell effect. A non-linear narrative, unique use of technology, and extraordinary visuals characterize both Pulp Fiction and Kill Bill. Despite the typicality of the idea, the director interpreted it uniquely and offered the audience the story told on the screen and a special style, atmosphere, and a unique world, which Tarantino accurately transferred to reality. He pulled the story out of American life while completely reinterpreting it on the screen.
References
Guthrie, C. (2019). Narratives of rupture: Tarantino’s counterfactual histories and the American historical imaginary. Rethinking History, 23(3), 339-361. Web.
Tarantino, Q. (1994). Pulp Fiction. Miramax.
Tarantino, Q. (2003). Kill Bill. Miramax.