Barr, Kevin. “Narrative Structure in Film: ‘Pulp Fiction’ & ‘Citizen Kane'” Suite101. com. N. p. , 8 Feb. 2011. Web. 27 Oct. 2012. . Summary: The article “Narrative Structure in Film: ‘Pulp Fiction’ & ‘Citizen Kane’” from Suite101. com by Kevin Barr evaluates the directing style of Quentin Tarantino in Pulp Fiction by delving into the reasons behind the unconventional narrative style (linear vs. fractured narrative). As such with how Vincent is shot dead by Butch, but returns on-screen a few scenes later due to the timeline.
Another example being how the opening scene of the movie isn’t resolved until the end, as Tarantino employs a major distortion of real time. Evaluation: Kevin Barr presents a clear and well stated thesis that introduces the article and is well supported throughout the reading and within the film. His thesis is that even though the term ‘narrative’ has been used to describe the overall connection of events within the world of a movie, this theory can be altered to create what is recognized as the unconventional narrative structure, as opposed to a single ‘formula’ of which would be known as a chronological, linear story.
Barr includes a variety of well-supported examples from different sections of the movie. Aforementioned examples including the distortion of real time where Vincent is shot dead by Butch but later returns on-screen a few scenes later, and the opening restaurant scene where Honey Bunny and Pumpkin start a hold-up in a small diner that doesn’t conclude until the end of the film are some prime examples Barr gives when analyzing the individual ‘stories’ in the movie. The fractured narrative style thus robs the audience of the privileged position that the conventions of an established ending shot permits.
Barr uses correct grammar, appropriate vocabulary, and a varied sentence structure in the article that goes above and beyond a typical analysis or critic. Barr pulls in ideas and quotes from numerous sources. While detailing how Tarantino’s Pulp Fiction does not follow the typical cause and effect narrative structure, Barr compares Tarantino’s style to that of Tzvetan Todorov, a Franco-Bulgarian Philosopher who first introduced the idea of the ‘conventional’ narrative structure.
Whereas there are normally five stages to a narrative, Pulp Fiction creates its own, abandoning such ideals. The author also quotes Roland Barthes, who comments how Pulp Fiction has “multiple entrances and exits”. The article is organized in a logical order that supports every topic sentence for every paragraph with a solid answer and sourced backup. It does show closure and concludes with a well formulated conclusion paragraph regarding the “ways in which narrative can be used to exploit a director’s style, and thus contribute to the meaning of a film”.
Green, Naomi. “Tarantino’s Directing Style One of the Most Imitated. ” Washburn Review Feb. 2008. Web. 27 Oct. 2012 . Summary: The article “Tarantino’s Directing Style One of the Most Imitated” from washburnreview. org by Naomi Green analyzes the unordinary sound effects, abilities of the characters, references, and the odd special effects that were used in Pulp Fiction that defined the stylistic approach Quentin Tarantino took with his film that is since readily copied in many modern films.
Naomi remarks numerous times on the camera work and dialogue heavy scenes that help build up tension in the film. One such occasion being like that of one of the opening shots where Jules and Vincent have a long, funny discussion about foot massage while walking down a long hotel corridor. Because this shot is stylistically done in one unbroken take, the tension builds as they arrive in front of the door to the fatal apartment, where they decide it is not yet time to enter, and walk further down the hall to continue their discussion.
However what is brilliant about this scene, and Naomi remarks about it, is how the camera no longer joins them, as it stays planted in front of the door, and pans to look at them walking away. Naomi continues concludes the example by saying how the visual language says that the apartment is the first priority; and the camera seems almost impatient as the discussion continues, and the tension builds. Evaluation: Naomi Green creates a clearly stated thesis that readily introduces the article and the topics at hand.
Her thesis being on how Quentin Tarantino’s camera work, references, odd special effects, unordinary sound effects, and abilities of characters are used to create a unique atmosphere and directing style that has been imitated various times over. Green presents numerous detailed examples on the film and how they relate back to her thesis with well supported facts. One example being the unique orange glow coming out of the briefcase. This special effect is unique in that the source of the glow is never revealed in the film or even after its release.
The combination to the lock being ‘666’ is a reference to Satan; this is revealed by Green to only tempt the audience to speculate on the true meaning and forces at play. Green offers extremely high quality examples, even going to as further back up the religious connection with that of Jules’s supposed divine intervention from a higher power saving his life. The author uses correct grammar, appropriate vocabulary, and varied sentence structure in addressing the reader. This claim can be backed up by the lack of errors in the article and how there is a steady flow of words and never any un-concluded questions or fragments.
Green utilizes various ideologies when deconstructing Tarantino’s directing style. One such reference Green gathers from external sources is that of Aristotle. When comparing his directing style, Green explains how Tarantino might have adopted some of Aristotle’s narrative values. As Aristotle argued that a basic narrative consists of a beginning, middle, and an end; however he wrote that this order can be altered to present events in a non0chronological succession to emphasize importance or meaning.
The article is organized logically and follows a fluid structure that reflects the numerous points Green attempts to make; it as well includes specific details that support nearly every paragraph’s topic sentence/question. Green closes out her article with a succinct and relevant conclusion remarking on how “the violent events are offset with unexpected laughter, the contrast of moods becomes liberating, calling attention to the real choices the characters make. In these choices the audience cheers for the good guys, who are the stereotypical bad guys, and celebrates life by questioning their own at the end of the story”.