...3/30/14 Pulp Fiction Pulp Fiction is a classic Quentin Tarantino film made in 1994 that is best known for having the story line written in small vignettes that piece together to throughout the course of the movie. The movie starts off in a coffee shop where two minor characters (Ringo and Honeybunny) begin to rob the shop while two main characters (Jules and Vincent) are sitting with a briefcase that they need to bring back to their boss (Marsellus Wallace). After this, it goes to a new scene where Marsellus has asked Vincent to take his wife out to dinner and show her a good time. Vincent is nervous so he goes and gets heroin before taking her out to dinner for the night. Later they get back and Marsellus’s wife (Mia) mistakes his heroin for cocaine and overdoses, so Vincent has to give her a shot of adrenaline to bring her back. Now it goes back to the opening scene before the coffee shop where Vincent and Jules are first retrieving the briefcase. Vincent and Jules get shot at from close range, but none of the bullets hit. Jules has an epiphany and calls it divine intervention that they are both not dead. They take the briefcase with them to the coffee shop as Ringo and Honeybunny rob it, and Jules has a new way of looking at things. Instead of killing them he gives the robber fifteen hundred dollars to leave so he doesn’t have to kill them. This movie has one main symbol that is shown throughout the entire film in the case of Jules, and that is nihilism. Nihilism is described...
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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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...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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...Instructor’s Manual and Test Bank to accompany A First Look at Communication Theory Sixth Edition Em Griffin Wheaton College prepared by Glen McClish San Diego State University and Emily J. Langan Wheaton College Published by McGrawHill, an imprint of The McGrawHill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright Ó 2006, 2003, 2000, 1997, 1994, 1991 by The McGrawHill Companies, Inc. All rights reserved. The contents, or parts thereof, may be reproduced in print form solely for classroom use with A First Look At Communication Theory provided such reproductions bear copyright notice, but may not be reproduced in any other form or for any other purpose without the prior written consent of The McGrawHill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. PREFACE Rationale We agreed to produce the instructor’s manual for the sixth edition of A First Look at Communication Theory because it’s a first-rate book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves...
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