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Essay / Research Paper Abstract
A 7 page paper discussing postmodern cinema and Tarantino’s use of it in Pulp Fiction. The paper discusses postmodernism, its underlying relation to film noir and Tarantino’s approach to it as he actively seeks “shock value” to gain and retain the viewer’s attention. It appears that his goal is to hold that attention sufficiently long so that reactions are more than only passing, so that reactions such as that during the New York premiere, for Tarantino, define success. Bibliography lists 10 sources.
Page Count:
7 pages (~225 words per page)
File: CC6_KSpulpFiction.rtf
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Unformatted sample text from the term paper:
is much difficulty in arriving a single, concise definition of "postmodern" as it applies to cinema. Many authors loosely throw around the word without truly defining how they are
using it, others mention it in passing because its mention is necessary but then scurry away from it before it turns to attack.
There is consensus that director Quentin Tarantino has managed to provide a cinematic definition of it, however, in the form of "Pulp Fiction." Combining film noir, violence, cynicism and
blush-engendering language can gain a film a postmodern label, but it is reaction that Tarantino seeks: When asked about an incident at the New York Film Festival premiere of Pulp
Fiction when a man had a heart attack while watching Thurmans hypodermic needle scene, Tarantino said, "I thought, This movie works, this is too intense for human beings - thats
cinema!" (Clark, 2002; p. 16). The Postmodern Film Rombes (n.d.) partially defines the postmodern film as being one that makes "sincerity something to
be ashamed of." This author writes that "formally postmodern films such as Pulp Fiction and Natural Born Killers ... forbade cool audiences from forming sincere attachments to their characters"
(Rombes). Rafferty (1997) explains that the postmodern film is built on the film noir genre, but that a feature of postmodernism is that the "films noir sensibility that pervades
many modern, hip films and novels is usually overdone. Even in the hands of talented directors like Quentin Tarantino, it has become self-conscious and has lost its reckless energy" (p.
87). The Film Noir Foundation Film noir has enjoyed an extended life span. In the form in which it originated in the
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