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Summary A Level Film Studies Pulp Fiction notes Package- scene analysis and auteur £5.49
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Summary A Level Film Studies Pulp Fiction notes Package- scene analysis and auteur

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This document encompasses all information needed for those studying Quentin Tarantino’s ‘Pulp Fiction’, for the experimental section of the WJEC A Level Film Studies course. This document contains note from key scene analysis with the evidence divided into specific micro elements ready to sup...

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  • October 26, 2023
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⑧a i IOf ANA7+70.994
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-one scene analysis experimental
A
-> Uma Thurman, Samuel (Jackson narrative Tarantino
+
as an auteur.


-

H
~



wi
↳ d John Travolta, Bruce Willis. The film is post modernist.




suces and vincent
postcredits
sound:I during the credits -- song changes, is loud and non-die-
record scratch sound effect


2 - -getic. Then fades in volume and becomes diegetic, is the song vince and Jules are listening
mise-en-scene: to on the radio. Tarantino using pre-existing sonas he lines. A heavy dialogue --
lengthy

* matching black suits - white shirt, slim black tie gangster conversation aboutnothing important. I'll big mac'thumour, comfy casualness -- establishes


uniform reference -
to his first film, Reservoir Dogs -
auteur. vincent and Julespartnership.


* brightb lue sky outside bold primary colours -- auteur.



* beige car -- quite ordinary -- nothing eye-catching a
or of pati- cinematography. I start
of c amera staus static
moment in
profile shot
ofVincent -




-
cular interest. audience are immediately aligned with him. A tightly framed close up (POV?) Snot-


editing: long takes, allows us to focus on dialogue reverse shot as they talk-partnership. Flow angle car trunk shot-Goodfellas homage.




the apartment
sound:* Jules' powerful tone of voice -- Tarantino avoids stereotypes by giving sules very

2 dialogue -
eloquent educated way ofspeaking -b'allow me to retort'

mise-en-scene:
* artificial golden glowing light
from briefcase, exaggeration cinematography
+
a longshot close ups on cules - power, dominance, controls the



creates mustery
- is a McGuffin importantb ut no outcome. scene. * Vincent in background of shots-y back-seat presence in the room.


* contrasti n costumes - Jules and Vincent
are more official po editing:a shot-reverse -
shot-builds tension.

* action of Jules shooting guy on sofa-r randomness.




Vincent does Heroin
sound: normal everyday conversation h is carry
about Lance -
seeing a different side of Vincent-notgangster


2 A mysterious instrumental score-y cool and bad.


mise-en-scene:
* warm light, peaceful sunny energy intances apartment very cinematography.I intens extreme close up shots of needle
graphic a
to shot like an advert,


calm and relaxing. * Vincent's brown coat, his out
of uniform - seeing

a differentside to him * angelic streetlights as he drives - cool glamourisation editing.I long edite a slow motion moments in heroin montage a
fades referential
to black-self



& obvious back projection as he drives-old Hollywood Homage.




mia's introduction
sound: - Mias VO reads the note-self referential-reminds us it's a film. * pleonastic ambient

2 - sound of cricits a
tiny quality of miss voice over intercon -
creates tension. * son ofa preacher - diegetic?
mise-en-scene:
* mia's character design, obviously wearing a wig isclear einematography realits
ac of talking into mic a tracking of
shot feet Tarantino's footfetish


they are 'characters. A red lipstick, powerful seductress.



editing.
·




I milling
long edits of Vincent about awkward. cross-cutting
I




marvin is shot
sound: - humorous dialogue' on shit, just snot Marvin in the face

2 -




mise-en-scene:

* black and white suits -
gangster uniform -
continued idea cinematography.I camera avoids o fcar after Marvin is shot
backseat


* Cream,
white car interior, manes blood way more impactful. * Marvin in background of Vince's close up foreshadowing.

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