...Pulp Fiction is like boot camp for the Marines. You come into it from your civilized life, they subject you to violent language until you're numb, they abuse you verbally and physically until all of your normal feelings and values are reduced to dust. Leaving you aware that you have changed, and able to describe the change, you find yourself questioning the person you were previously. First thing you know you're saluting. This story is a cleverly disorienting journey through a landscape of danger, shock, hilarity, and vibrant local color. Nothing is predictable or familiar within this irresistibly bizarre world. You do not merely enter a theater to see Pulp Fiction: you go down a rabbit hole. Theater is an actor moving through time and space, telling a story. In Quentin Terintenio¹s, Pulp Fiction, the actors portray savvy modern-day gangsters and the story is three stories told in backwards order. To say the least this not your average story. The theme of the story is redemption, and the journey to achieve that redemption. The characters are colorfully multidimensional and most importantly they are believable. The language of the story is street-smart and confident, like the characters. There is no main plot, only mirror plots that are reflections of each other. The theme of redemption is portrayed by two of the main characters of the story. These characters seek redemption and a new way of life, they each desire a more virtuous life. Butch (Bruce Willis) wants to pull...
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...Reservoir Dogs, directed by Quentin Tarantino, is one of the renowned film noirs in Hollywood cinema culture. The film noir is a French meaning a genre about time (Miyao Lecture 3). There are several characteristics that feature film noir: for example, almost all noir films are crime and action films and revolve around two overarching themes - the irretrievable-ness of time and the emphasis on trust and betrayal (Miyao Lecture 3). Moreover, film noir has its own cinematic techniques to distinguish itself from other genre films, such as flashbacks to manipulate the time to alter the story order. The film Reservoir Dogs does a great work in manipulating time and space as Tarantino even stated in his interview that he wanted to introduce each character in "a series of chapters" and when one chapter ends the story goes "back in the main thrust of action again" (Peary 38). Even with the constant use of flashbacks, the story line still flows fluidly avoiding any complication in understanding the plot. In this paper, the one scene that I choose is at the end when Mr. Orange reveals his true identity as a cop to Mr. White, who risked his own life to save him from the Joe and “Nice Guy” Eddie. There are multiple cinematic techniques displayed in this particular scene – the medium and close-up shots of Mr. White and Mr. Orange, the 180 degree rule editing, the cool lighting, and diegetic sound of Mr. White's whimpering – all which help analyze the two characters in depth and emphasize the...
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...Pulp Fiction In summary, I tend to strongly agree with John Haynes that the film’s crossover success as sort of an “Indiewood” (pg. 712) genre contains immense irony, as the film definitely encompasses such a star-studded cast, particularly through Travolta’s renowned casting (pg. 711), which reflect typical Hollywood and also the movie’s loyalty to some facets of mainstream films with its cultural allusions; however, the author also specifies clearly that the film adamantly projects elements of its own distinctive style and also infuses aspects that deeply strays from mainstream films, which I totally agree with without any qualm. Hayes also seems to further imply that we can “expect the unexpected” from this disorienting film as a whole, a statement that characterizes the essence of this movie for me as well. In particular, the Haynes also cites numerous examples of how the film is anything “but a conventional film” (pg. 696) in terms of its contents, style, symbolisms, etc. Examples such as the “you play with matches” shots (pg. 696), its use of 1950s iconic allusions, along with it’s playful tone (pg. 697), as well as its postmodern emphasis on surfaces and reflections (pg....
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...Humanities 135/Theater 102 FILM NOIR VIEWING ASSIGNMENT A. The film title is Pulp Fiction, the release year is 1994, the director is Quentin Tarantino, and the production company is Miramax Films. B. The stories of two mob hit men, a boxer and a pair of dinner bandits intertwine in four tales of violence. C. Some of the Mise-en-scene that I noticed in the film was many street lights including neon lights indoor and outdoor, lots of 50's and 60's memorabilia, I also noticed the music use was from that era. Costumes in the film such as Marilyn Monroe, Elvis Presley, example of this is when the taxi driver is driving the boxer to his hotel, also when Vince is driving Mia to the restaurant, and inside the cafe that they went to eat. D. One evidence of Schrader noir characteristic is the use of reflective surfaces, windows, tables, mirrors, and blinds. Example inside cafe with Mia and Vince. And in the beginning with the couple robbers. E. One evidence of Matthews noir characteristic is the use of Neon lights, example inside cafe with Mia and Vince. G. One Schrader characteristic which don't occur is that not the majority scenes are lit for night. One Matthews characteristic that doesn't occur is rain. H. No there is not a hardboiled detective. I. No the film did not begin at the beginning. J. I like the film very much, the fact that the gangster characters are living in the edge, the irrationality...
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...The American culture in PULP FICTION “The path of the righteous man is beset on all sides by the inequities of the tyranny of evil man. blessed is he who, in the name of charity and good will, shepherds the weak through the valley of darkness, for he is truly his brother's keeper and the finder of lost children. And i will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know my name is the lord when i lay my vengeance upon thee. ” This is the famous lines of pulp fiction, which also comes from The Bible. I have seen a lot of American’s movies, but this one, pulp fiction, made me confused and thought a lot until now. You may think what kinds of deep and profound things you can figure out from a film which is fulled of violence, sex, and drugs. But on the country, through the classic “black humor”, it exactly reflect the reality life of American lower class in 19 century. Pulp Fiction is structured around three distinct but interrelated storylines—in Tarantino's conception, mob hitman Vincent Vega is the lead of the first story, prizefighter Butch Coolidge is the lead of the second, and Vincent's fellow contract killer, Jules Winnfield, is the lead of the third. Although each storyline focuses on a different series of incidents, they connect and intersect in various ways. The film starts out with a diner hold-up staged by "Pumpkin" and...
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...Intro to Film Study Film Analysis of Pulp Fiction Pulp Fiction is a movie that seems to have multiple stories being told almost simultaneously. Some will say it is about two hit men or a boxer, but the truth is there is no story behind the film. The whole purpose of the film is to parody every type of film movement created. This film leaves no movement out. The director, Quentin Tarantino, uses the film’s formal properties to express larger themes. First of all, Quentin Tarantino somewhat sticks to the classic Hollywood System for editing. Tarantino does not seem to cross the axis of action. However, there are times when the director breaks with the classic Hollywood System for editing and one way he does this is by having a discontinuous editing system. One example is the end of the movie. Under the rule of continuity editing, it should have been following the beginning of the film. The director, however, did not seem to use crosscutting, which could have worked in his film and makes him adhere to the continuity editing system. Among all the other styles present in the film, film noir and surrealism seem to be the most obvious. Throughout the movie, Tarantino parodies these films styles along with many others. Film noir is one of the most noticeable styles in the movie. First of all, one important aspect of film noir is the fact that each character has no clear moral base. This is very true in Pulp Fiction, especially with Samuel L. Jackson’s character, Jules. In the beginning...
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...Thurman) confronts an enemy on Kill Bill: Vol 1, anytime Django is perceived as valiant an up-tempo western beat plays. For example, "The Braying Mule" by Ennio Morricone with its typical guitar, wood wind instrument, and drums played in this film. Though these two movies have a difference, they also have songs produced by the same artist Luis Bacalov, "Django" and "The Grand Duel". The similarity shows the consistency Tarantino has in his movies. Often called a Horse Opera, this western's soundtrack talks to reach the audience to emphasize a scene. Like, "I've Got a Name" by Jim Croce that can be heard once Django regards himself as more than a slave. It is not said, but through the use of music the moment is captured. In addition, in contrast to Pulp Fiction's rock and fun "You Can Never Tell" by Chuck Berry and "Jungle Boogie" by Kool And The Gang, Django Unchained's "Freedom produced by Anthony Hamilton and Elayna Boynton is more meaningful and slow. While these features successfully portray a Spaghetti Western with the twist of Comedy , some may discourage viewers because of the extent of them. The content includes too much violence and inappropriate language for young crowds. Confusion about what one should feel in certain situations could distract from the overall opinion of the film. Even Tarantino commented about the spectators and their understating of the dark humor by stating, "When I'm writing a movie, I hear the laughter. People talk about the violence. What about the comedy...
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...Marketing the hegemony of development: of pulp fictions and green deserts Steffen Böhm and Vinícius Brei Marketing Theory 2008 8: 339 DOI: 10.1177/1470593108096540 The online version of this article can be found at: http://mtq.sagepub.com/content/8/4/339 Published by: http://www.sagepublications.com Additional services and information for Marketing Theory can be found at: Email Alerts: http://mtq.sagepub.com/cgi/alerts Subscriptions: http://mtq.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav Citations: http://mtq.sagepub.com/content/8/4/339.refs.html Downloaded from mtq.sagepub.com at Glasgow University Library on July 5, 2011 Volume 8(4): 339–366 Copyright © 2008 SAGE www.sagepublications.com DOI: 10.1177/1470593108096540 articles Marketing the hegemony of development: of pulp fictions and green deserts1 Steffen Böhm University of Essex, UK Vinícius Brei Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS), Brazil Abstract. In this paper we analyze the role of marketing in the construction of what can be called the hegemony of development. Through an investigation of the marketing practices of the pulp and paper industry in South America and the resistances that are articulated by a range of civil society actors against the expansion of this industry, we problematize marketing as a political and contested discourse and practice. By using Laclau and Mouffe’s...
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...he characteristic theme of Long’s[1] critique of the patriarchial paradigm of reality is the genre, and hence the paradigm, of neoconceptualist sexual identity. However, any number of sublimations concerning not, in fact, discourse, but postdiscourse may be discovered. The primary theme of the works of Tarantino is the bridge between reality and class. If one examines capitalist Marxism, one is faced with a choice: either accept cultural narrative or conclude that discourse is created by the masses. Therefore, Baudrillard uses the term ‘textual dematerialism’ to denote not theory, but neotheory. Marx’s essay on capitalist Marxism states that art is capable of significance, but only if subdialectic structuralist theory is valid; otherwise, Sontag’s model of Lacanist obscurity is one of “postmaterial semanticist theory”, and therefore part of the futility of consciousness. Thus, the example of cultural narrative which is a central theme of Tarantino’s Pulp Fiction is also evident in Four Rooms. The main theme of Humphrey’s[2] critique of Lacanist obscurity is a mythopoetical paradox. Therefore, the subject is interpolated into a capitalist Marxism that includes truth as a totality. Porter[3] implies that we have to choose between subcapitalist capitalism and Batailleist `powerful communication’. However, the characteristic theme of the works of Rushdie is the common ground between reality and sexual identity. The subject is contextualised into a cultural narrative that...
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...Chua / The Making of Jose Garcia Villa’s A Footnote to Youth 9 THE MAKING OF JOSE GARCIA VILLA’S FOOTNOTE TO YOUTH Jonathan Chua Ateneo de Manila University jchua@ateneo.edu This article recounts the story behind the publication of Villa’s stories and his book Footnote to Youth: Tales of the Philippines and Others (1933) in the United States. First, the conditions of the American literary marketplace are briefly described. Second, documents pertaining to the realization in print of Villa’s stories and his book are analyzed as sites of negotiations between colonial subject (Villa) and the colonial master (his American editors and publishers). Finally, an account of how Villa was made to circulate in the Philippines after the publication of his stories and his book in the United States is given. From these discussions the article hopes to show that Villa’s self-fashioning by publication was both subject to and critical of the colonial condition, alternately reinforcing it and challenging it. Abstract Philippine literature in English, book history, postcolonialism, exotic, author Keywords Jonathan Chua teaches at the Department of Interdisciplinary Studies of the Ateneo de Manila University. He is the editor of The Critical Villa: Essays in Literary Criticism by Jose Garcia Villa (2002). His edition of the collected short stories of Jose Garcia Villa is forthcoming from the Ateneo de Manila University Press. About the Author Kritika Kultura 21/22 (2013/2014):...
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...Cultural Moves AMERICAN CROSSROADS Edited by Earl Lewis, George Lipsitz, Peggy Pascoe, George Sánchez, and Dana Takagi 1. Border Matters: Remapping American Cultural Studies, by José David Saldívar 2. The White Scourge: Mexicans, Blacks, and Poor Whites in Texas Cotton Culture, by Neil Foley 3. Indians in the Making: Ethnic Relations and Indian Identities around Puget Sound, by Alexandra Harmon 4. Aztlán and Viet Nam: Chicano and Chicana Experiences of the War, edited by George Mariscal 5. Immigration and the Political Economy of Home: West Indian Brooklyn and American Indian Minneapolis, by Rachel Buff 6. Epic Encounters: Culture, Media, and U.S. Interests in the Middle East,1945–2000, by Melani McAlister 7. Contagious Divides: Epidemics and Race in San Francisco’s Chinatown, by Nayan Shah 8. Japanese American Celebration and Conflict: A History of Ethnic Identity and Festival, 1934–1990, by Lon Kurashige 9. American Sensations: Class, Empire, and the Production of Popular Culture, by Shelley Streeby 10. Colored White: Transcending the Racial Past, by David R. Roediger 11. Reproducing Empire: Race, Sex, Science, and U.S. Imperialism in Puerto Rico, by Laura Briggs 12. meXicana Encounters: The Making of Social Identities on the Borderlands, by Rosa Linda Fregoso 13. Popular Culture in the Age of White Flight, by Eric Avila 14. Ties That Bind: The Story of an Afro-Cherokee Family in Slavery and Freedom, by Tiya Miles 15. Cultural Moves: African Americans and the Politics of...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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...Chapter 1 - Geography Matters: Definitions: * Human geography the study of the spatial organization of human activity and of people’s relationships with their environments * Cartography: the body of practical and theoretical knowledge about making distinctive visual representations of Earth’s surface in the form of maps * Map projection: a systematic rendering on a flat surface of the geographic coordinates of the features found on Earth’s surface * Ethnocentrism: the attitude that a persona’s own race and culture are superior to those of others * Imperialism: the extension of the power of a nation through direct/indirect control of the economic and political life of other territories * Masculinism: the assumption that the world is and should be shaped mainly by men for men * environmental determinism: a doctrine holding that human activities are controlled by the environment * globalization: the increasing interconnectedness of different parts of the world through common processes of economic, environmental political and cultural change * ecumene: the total habitable area of a country. Sine it depends on the prevailing technology, the available ecumene varies over time. Canada’s ecumene is so much less than its total area. * Geodemographic research: investigation using census data and commercial data (i.e. sales data and property records) about populations of small districts to create profiles of those populations for market research ...
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...LACAN AND CONTEMPORARY FILM EDITED BY TODD McGOWAN and SHEILA KUNKLE OTHER Other Press New York Copyright © 2004 Todd McGowan and Sheila Kunkle Production Editor: Robert D. Hack This book was set in 11 pt. Berkeley by Alpha Graphics, Pittsfield, N.H. 10 9 8 7 6 5 4 3 2 1 Allrightsreserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission from Other Press LLC, except in the case of brief quotations in reviews for inclusion in a magazine, newspaper, or broadcast. Printed in the United States of America on acid-free paper. For information write to Other Press LLC, 307 Seventh Avenue, Suite 1807, New York, NY 10001. Or visit our website: www.otherpress.com. Library of Congress Cataloging-in-Publication Data McGowan, Todd. Lacan and contemporary film / by Todd McGowan & Sheila Kunkle. p. cm. Includes bibliographical references and index. ISBN 1-59051-084-4 (pbk : alk. paper) 1. Motion pictures-Psychological aspects. 2. Psychoanalysis and motion pictures. 3. Lacan, Jacques, 1901- I. Kunkle, Sheila. II. Title. PN1995 .M379 2004 791.43'01 '9-dc22 2003020952 Contributors Paul Eisenstein teaches literature and film in the English department at Otterbein College, Columbus, Ohio, and is the author of Traumatic Encounters: Holocaust Representation and the Hegelian Subject (SUNY Press, 2003). Anna Kornbluh...
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