Component 2d – Experimental Film – Essay

“Experimental film is often the result of an auteur challenging established conventions with fresh ideas.” With reference to your chosen film option, how far do you agree with this statement?

In his most renowned film, Pulp Fiction, Quentin Tarantino changed the landscape of the film-making industry of the 1990’s. In a similar vein to how the grunge movement obliterated stylised 1980s hair metal, Tarantino usurped the action-packed blockbusters with his unique style of satire and pastiche. Pulp Fiction draws on nostalgia to provide the audience with an immersive viewing experience of a film fuelled by violence and discrimination. Tarantino uses this auteur style to paint a picture of an America in decline, with a morally bankrupt population and a failing support system. Where the American Dream is not only dead but decaying.

Tarantino assures himself as an auteur, based on his manipulation of the traditional narrative form, alone, nevermind any of the other unique features of Pulp Fiction. What is key; however, is that he chooses to segment his narrative into four sub-plots, each focusing on different characters. Whilst these sub-plots overlap, in terms of character and content, to form an overarching story, the substance of the action is not lost over the style of the presentation. In many ways, it is a triumph by Tarantino to completely subvert genre expectations and the femme fatale archetype by casting Uma Thurman as Mia, an intelligent but sly and mysterious woman. Whilst crime films typically feature a promiscuous woman with limited involvement in the progression of the story, Tarantino uses Mia to explore how morally bankrupt Vincent truly is. This is shown through Mia’s reliance on drugs as an escape from the world she lives in and Vincent’s negligence to her addiction. Mia shows the audience how careless Vincent is. Likewise, Tarantino reignites the flame that is Bruce Willis, as Butch, an isolated boxer, trying to escape poverty and organised crime. Whilst a character such as Butch might ordinarily be bound by a definite good or evil ideology, he falls somewhere in the middle. He occupies neither Propp’s Hero or Villain character types, unusual for the audience to witness. This adds to the sense of isolation that Butch portrays. It is clear that Tarantino uses Butch to suggest to the audience that it might not be possible to act entirely morally, a scary thought indeed. In this regard, it could be argued that Tarantino’s subversion of traditional stock crime characters allows the audience to think more deeply about the theme of morality, explored throughout the film. The characters themselves are used to uncover the imperfections about the world we live in.

One of the most striking elements of Pulp Fiction is how Tarantino uses enigma codes to encourage his audience to be an active participant in the film. Most notably, when Mia and Vincent are dancing in the restaurant, there are two interpretations of the action. Firstly, that this is a merely platonic relationship and that Vincent is fulfilling his duties to Marsellus. Or, that there is a heightened sense of sexual tension between the two characters. Tarantino perhaps does this to encourage his audience to question their own behaviour and whether or not their relationships can be described as morally right.

In addition to the morally ambiguous action and dialogue (why would Vincent dance provocatively with Marsellus’ partner if he is a respectful man), Pulp Fiction is also iconic for Tarntino’s implementation of pastiche. That is to say, Tarantino uses time as a motif. From the offset, the decision to use a diner sets a tone of 1950’s America, where the citizens were full of optimism and hope. Tarantino subverts this by showing two low life crooks (Honeybunny and Pumpkin) trying to make ends meet, thus having to rob a diner. This solemnly reminds the audience that America has regressed into a much more impoverished way of life.

It is also important to note that Tarantino implements homage in more than just mise-en-scene. However, the two restaurant waitresses being styled as Marilyn Monroe and Audrey Hepburn is a nice reference for an eagle-eyed viewer. Neverthless, it is clear that the jubilant surf-rock non-diegetic composed score that occupies much of the music in the film, primarily exists for Tarantino to subvert with violence and drugs. It is interesting at this point to note that Tarantino didn’t solely use this type of music; instead, the classical rock, hip hop and western-influenced music is a much more eclectic composition. In this regard, Tarantino uses his score to suggest that America is fractured and disjointed.

Clearly, Pulp Fiction cements Tarantino as an auteur unlike no other. Additionally, his complete disregard for many film theories allows him to explore a completely new genre of film. Most notably, Tarantino encourages his audience to take a hands-on, questioning-style of approach, in watching his film. This is reinforced by the many close-up camera shots that provide an unhindered insight into each character’s intriguing life, for example the close-up of Jules as he shoots three young boys in an apartment. This is diametrically opposed to Andre Bazin’s idea of what a film should be, with much more of a spectator-type role for the audience and long shots of the action by the director. This is interesting to note, in more ways than one. Firstly, it asks the question of the relevancy of theories in film and whether or not Tarantino proves that they in fact hinder a story? Secondly, if they help to make Tarantino stand out as an auteur? That is to say, if every film-maker displays this same ignorance to film theories as Tarantino, the latter would be no different to every other director and there would be no such thing as an auteur. It is, therefore, important to realise that Tarantino can be assigned the privilege of being an auteur because of the foundations of many film theories ensuring that there was a normality for him to obscure and break out of.

 

 

 

Component 2d – Experimental Film – Essay

“Unfamiliar approaches to narrative can be both difficult and exciting for the spectator.” Discuss this comment in relation to your film study.

Quentin Tarantino’s most acclaimed film, Pulp Fiction (1994), structures it’s narrative around engaging characters, that question the extent to which our society acts within the bounds of morality. Tarantino subverts traditional ideas about a structured narrative to create a sense of unease and excite within the viewer, encouraging them to question the events of the story. Moreover, Tarantino’s unfamiliar segmentation of the narrative allows for his charcters to be developed in a way that gives the storyline a destination.

It is important to note that Pulp Fiction begins with a scene gleaming with tension. Honeybunny and Pumpkin are in the midst of plotting a diner ‘heist’, as they reveal their high-calibre weapons used to hold the patrons hostage. This immediately stands out as an irregular scene for Tarantino to start the narrative with. The tension peaks and, on the surface, there is nothing to have warranted this. In this regard, Tarantino subverts Todorov’s ideas about the disruption of equilibrium taking place in the middle of the narrative and, instead, does it right from the offset, arguably heightening the drama. Tarantino uses this to establish a tone of violence, that perpetuates throughout the narrative.

The most blanatnt example of Tarantino’s auteur style, is how he structures the narrative around four distinct sub-plots, telling four separate stories – unusual in a time when blockbuster action films were commonplace. It must also be noted that these four different sub-plots occasionally interweave at different points on the same timeline and that some characters appear in multiple stories. That is to say that the plot is non-linear and non-chronological and that the sub-plots can jump to different points along the timeline, in a seemingly arbitrary way. This enigmatic structuring of the narrative ensures that Tarantino only reveals how the stories interlink at the culmination of the narrative. Not only does this ensure that the viewer remains attentive throughout the narrative, it also encourages them to develop their own ideas of how the stories are related and for them to question why a certain event may be show before another.

Tarantino’s measured positioning of the events in his narrative is important in establishing both: a sense of character direction and a sense of character motivation. It is of upmost importance that the actions of characters are warranted or have some meaning behind them. This allows for the audience to individually decide whether or not a character acts morally. For example, we see that Butch’s father died when he was a young boy, before we see Butch kill Vincent, to protect his own life. This is important because it reduces the level of moral ambiguity in Butch’s actions and the audience are more likely to understand why he committed homicide. On the contrary, before Jules and Vincent kill three young boys, they talk nonchalantly about the intricacies of relationships. This makes them seem more cold-blooded and heartless, as they can easily switch emotions, something that makes them seem more immoral.

Since Tarantino uses his charcters to inform the meaning of the story (the extent to which our society acts morally), he does not conform to Propp’s ideas about the existence of seven clear character types. Instead, Tarantino creates a lot more ambiguity by making sure that he blurs the lines between Propp’s traditional ‘Hero’ and ‘Villain’. In fact, many charcters occupy different character archetypes throughout the film, creating more intrigue behind whether or not a character behaves morally. For example, when Vincent takes part in killing three young boys, this is a villainous act; however, he occupies much more of a heroic role when he escorts Mia on a night out. Tarantino uses these fluid character roles throughout the narrative, to further encourage the audience to question how far a character behaves morally.

Another technique that Tarantino uses to allude to the sense of moral ambiguity within his charcters, relies on Barthes’ theory of narrative codes. In fact, many scenes in Pulp Fiction can be read as either action codes or enigma codes. For example, when Mia and Vincent are dancing in the restaurant, one may believe that Vincent is just keeping his boss happy by entertaining his wife (action code). Contrastingly, one can read that the dancing is masking a sense of sexual tension between the two characters (enigma code). This is emblematic of the questioning attitude that Tarantino encourages his audience to have when watching Pulp Fiction. Equally, it suggests that a character never occupies a distinct moral or immoral stance, further highlighting the uncertainty of what is truly moral in our society.

Tarantino uses: a narrative centred around sub-plots, a violent tone and backstory to aid character development and to inform cause and effect. In this regard, it is clear that the narrative in Pulp Fiction does not conform to any preconceived narrative expectations. This allows Tarantino to be experimental in the way that he develops his narrative and to encourage his audience to form their own opinions about morality. In this sense, Tarantino relies on the idea of narrative positioning; an immensely effective device that allows for multiple interpretations of the story from different demographics. This ensures that at the culmination of the narrative, the audience aren’t sure of the morality of the events in the story and this leads them to question their own morality, suggesting that Tarantino’s impact in making Pulp Fiction, lends itself to something more than just pop culture references.

 

 

 

Theorising About Narrative

Quentin Tarantino’s filmmaking style in Pulp Fiction utilises the foundations of many narrative theories; however, Tarantino subverts many of these theories to create unique meaning and effect.

At the very simplest form, Tarantino completely subverts Propp’s ideas about the seven character forms. There isn’t an identifiable Hero because each character struggles with their own morality and commits murders, traits that are unadmirable. Equally, there is no clear Princess character type. Instead, Mia occupies a pseudo-femme fatale character; however, even that would box the character into a traditional archetype, even though she represents much more than sexuality. In fact, I would argue that Tarantino plays with the very idea of character types; arguably, the briefcase is the Princess character type. Since Tarantino assigns no clear role to his characters, the audience are encouraged to decide who to ‘side’ with. This underpins the theming throughout the film, in that there is no clear rubric for assigning morality and this seems to reflect the blurred lines of  righteousness in the 90’s and modern-day society.

Whilst Pulp Fiction does not utilise a traditional narrative structure, Tarantino uses Todorov’s ideas on equilibrium to enhance the periods of heightened drama and tension in the narrative. Whilst you can’t segment Pulp Fiction into five segments, based on how the narrative equilibrium changes, you can see how Tarantino manipulates equilibrium to achieve the maximum dramatic impact. For example, instead of using the opening sequence of Pulp Fiction to establish the sense of normality (in regards to equilibrium), there is an immediate gunfight, taking the audience by surprise. Even though Tarantino doesn’t segment his narrative in line with Todorov’s views, he subverts these ideas to heighten the drama. The effect is similar for both Todorov and Tarantino, in that the initial establishment of equilibrium sets the tone for the film going forwards.

It could be argued that the primary narrative theory that is evident in Tarantino’s work in Pulp Fiction, is Barthes’ theory on narrative codes. In fact, many scenes in Pulp Fiction can be read as either action codes or enigma codes. For example, when Mia and Vincent are dancing in the restaurant, one may believe that Vincent is just keeping his boss happy by entertaining his wife (action code). Contrastingly, one can read that the dancing is masking a sense of sexual tension between the two characters (enigma code). This is emblematic of the questioning attitude that Tarantino encourages his audience to have when watching Pulp Fiction. Whilst Tarantino doesn’t exploit the idea of narrative positioning, it is inherently obvious that there will be different interpretations of the narrative, making for a more engaging film.

How is time manipulated in the film?

•  On a more basic level, Tarantino uses four different sub-plots that interweave at different points on the same timeline. That is to say that the plot is non-linear and non-chronological and that the sub-plots can jump to different points along the timeline, in a seemingly arbitrary way. However, at the culmination of the narrative, it is revealed that the sub-plots intertwine and this completes the gaps in the story. Equally, Tarantino manipulates time so that it is used more of a motif. He explores different eras of time, namely the 1950’s and 1960’s to create a nostalgic feel to the narrative. This also makes the film seem timeless, creating the impression that the battle with morality has been an issue throughout time.

How is the story told through narrative techniques?

•  It is important to recognise that each of the four-sub plots tells a different story and that, due to the fact they interweave, the stories unfold at largely the same pace. Equally, there is a story that overarches the narrative and links the sub-plots together. In this regard, it is crucial that Tarantino develops the characters within each sub-plot. This is done through the manipulation of time. For example, we see that Butch lost his father at a young age and we see that Marsellus is a resentful mob boss. This helps to inform why Butch values his life so much and kills to preserve his own existence and why Mia is so eager to let her hair down and have a nice time when she’s with Vincent. It can therefore be argued that Tarantino interweaves the different sub-plots because they impact the advancement of each of the stories.

Who are the audience encouraged to identify with?

•  The beauty of Pulp Fiction is that it is a film concerned with the lives of characters. This manifests itself in an interesting way, in some scenes we see charcters talking about Big Macs and travelling; whereas, in the next scene they  are killing people. In this respect, the charcters seem somewhat relatable, in a shocking way. This is important because the charcters are used to represent morality. Whilst none of them behave truly morally, they each represent a different extent of morality. Tarantino ensures that the viewer decides which character they most associate with by making each of the characters behave within a different moral boundary. This, in turn, makes the viewer question their own sense of morality.

Is the film linear?

•  If you take the overarching story of a Pulp Fiction into perspective, the story can be said to follow a somewhat linear structure; however, the fact that the sub-plots interweave on the same timeline implies that the narrative is most certainly non-linear. Equally, since Tarantino uses four different sub-plots, the narrative can be said to be multi-stranded.

Does the film conform to Todorov’s theories regarding the segmentation of a film based on a changing equilibrium?

•  Whilst Tarantino most certainly uses ideas about equilibrium to engage his audience into questioning from the offset, one cannot segment the narrative into phases of equilibrium. This is because the narrative is in a perptual state of flux. That is to say that whilst there are distinct moments of equilibrium, the viewer can never really sure what is true normality in the fictiscious world . This is because of the sporadic nature of events that take place, for example the rape scene, that disrupt the equilibrium in surprising parts of the narrative.

Does Tarantino use his shots to give the film a poetic feel?

•  Clearly it is important for Tarantino to show that the sub-plots are connected in terms of their story line direction. Tarantino shows this by using the same set of core characters that appear in multiple different sub-plots and by connecting the sub-plots based on aesthetics and cinematography. The most notable example is the use of food. From the offset, Honey Bunny and Pumpkin are in a diner, eating breakfast. Later on in the narrative, we see Vincent and Jules in awe at the Big Kahuna burger and we see Mia and Vincent visit an old-fashioned restaurant. Generally speaking, Tarantino uses close-up two shots when his charcters are eating. Not only does this connect the sub-plots together, it also paints a picture of gluttony in an emerging consumer culture, beginning to plague America. This further allows Tarantino to explore the core concept of morality and for the audience to appreciate that there is a large wealth divide that separates the ‘haves’ from the ‘have nots’, most evident after Mia purchases a $5 milkshake.

How are drama and tension created?

•  Although Tarantino doesn’t rely on Todorov’s equilibrium narrative structure, the frequent disruption of equilibrium is a common occurrence in Pulp Fiction. This is the primary reason as to how drama and tension are created. A more subtle method in which Tarantino maintains this sense of drama and tension is though his character development. Often, the viewer learns more about a character’s motivation in committing a crime, before they actually commit it. This informs a sense of cause in the narrative and gives the events meaning. When we learn that Butch’s father was killed in a war, it is more shocking and tense when he kills Vincent because he doesn’t acknowledge the loss of life from a grieving perspective, like one might expect. This information allows the audience to invest in the drama more, heightening the tension, throughout the narrative.

Does the film’s genre shape its narrative?

•  Pulp Fiction is unique in the sense that it fulfils a few features of many different genres and not all of the features of one genre. Nevertheless, if one had to assign a genre type to Pulp Fiction, it would probably fall under the noir bracket. The most interesting subversion of this genre type is Tarantino’s manipulation of character motivation. In most noir films, charcters are motivated by violence and, even though Pulp Fiction glorifies violence, character motivations are much more driven by morality. This subversion of a typical narrative feature drives the entire narrative and is used by Tarantino to ensure the audience questions what is happening on-screen.

What character types are created?

•  In many respects, it would be doing a disservice to Tarantino by suggesting that his charcters are merely adaptions of Propp’s character types. This is because it is not easy to identify which charcters fit into what character type, unlike in many traditional folk-tales. At certain points in the film,a character may seem to be a Hero, before becoming much more of a Villain or a False Hero. Although Tarantino’s charcters aren’t bound by one description, all of Propp’s seven different character types are fulfilled at one point in the narrative, some charcters can be seen as all seven. The clear link between Tarantino and Propp is their idea that narratives are driven by charcters. This is evident in Pulp Fiction because Tarantino uses his charcters to explore the extent to which our society acts morally.

 

 

 

 

 

Narrative Theorists

Vladimir Propp theorised that narratives are character-driven and that said characters experience changes throughout a narrative, leading to a satisfying conclusion.

Vladimir Propp’s most influential piece of work was published in a book entitled ‘Morpohology Of The Folktale’. It was here that Propp put forward his theory that narratives were lead by the actions of characters. This postulated and underpinned his further research and analysis of narratives.

In its broadest sense, Propp designated seven different character archetypes, that were present in most narratives. It should be said at this point, that Propp’s research was primarily concerning narratives in traditional folk-tales; however, the information is still applicable to narratives in modern-day films.

Nevertheless, Propp’s proposed character types are as follows:

•  Hero – the centralised character type. They with the Dsipatcher and interact with the Donor. Additionally, they foil the plans of the Villain and, more often than not, rescue the Princess.
• Helper – the aid to the Hero, who assists them upon their quest. In a traditional folk-tale, this role was usually occupied by a magical or mystical being.
• Villain – the central antagonist, that sets up obstacles that the Hero must overcome along their quest.
• Donor – prepares the Hero for their long quest. They often give the Hero an object that aids them along their quest; however, this comes after a test or trial, where the Hero must prove their worthiness.
• Dispatcher – the character that instigates the need for the Hero to go on their quest.
• Princess – the ‘end-goal’ for the Hero to reach. Often, the Princess is made unattainable by some evil or injustice, that the Hero must first overcome.
• False Hero – the secondary antagonist, who tries to take credit for the actions of the Hero or tries to marry the Princess.

What is abundantly clear in this theory, is that there is a lot of cross over between the different character types and that the Hero is dependent on the Dispatcher or the Villain is dependent on the Princess, for example. In this regard, it is clear that there is much synergy between the seven different character types. Therefore, one could argue that a narrative needs to utilise each different character to further the quest of another character. It can be suggested that Propp is hypothesising that the progression of a narrative is reliant on the interactions between all of the seven different character types.

In addition to his work denoting character types, Propp also tried to use this to hypothesise a general narrative structure, that revolved around the interactions between said character types. He came up with 31 separate pivotal narrative points that he called ‘Narrative Functions’. Propp segmented these functions into four different spheres (essentially acts or parts of a narrative). These narrative functions are shown below (separated into their spheres), along with a description of the events that are most likely to take place.

The Introduction (sphere one) establishes the situation that the seven charcters find themselves in. It is also used to set up the primary quest line that the Hero will embark upon.

• 1)  Abstention – this is when a character (usually the Princess) goes missing. In other words, this is the inciting incident in the narrative.
• 2) Interdiction – the Hero is warned against pursuing the Princess. This sets up an obstacle that the Hero must follow.
• 3) The Violation of the Interdiction – the Hero ignores the warning and establishes themselves as a fearless maverick.
• 4) Reconaissance – the Villain searches for something, most likely the Hero, in order to vanquish them.
• 5) Delivery – the Villain gains some information that aids their search.
• 6) Trickery – the Villain tries to fool their victim, usually the Princess, gaining their trust.
• 7) Complicity – the Villain receives help from an unlikely source. This is often the Princess revealing the whereabouts of the Hero.

The Story (sphere two) is when the primary storyline begins and is characterised by the Hero beginning their dangerous quest.

•  8) Villainy and lack – the need for the Hero to go on a quest is established. This could be the knowledge that the Princess is in danger.
• 9) Mediation – the Hero learns of the fact that the Princess can’t escape her capture.
• 10) Counteraction – the Hero makes the firm choice to rescue the Princess, further establishing them as the protagonist.
• 11) Departure – the Hero begins their journey.

The Donor Sequence (sphere three) takes place as the Hero discovers another obstacle on his quest, facilitating the need for the Donor character to be introduced, aiding the Hero on his quest.

•  12) Testing – the Hero undergoes a test, to prove their strength and worthiness.
• 13) Reaction – the Hero responds to the test, in his quest to try and gain the magical item from the Donor.
• 14) Aquisition – the Hero passes the test and earns the magical item from the Donor.
• 15) Guidance – with the help of the magical item, the Hero overcomes the obstacle and reaches their destination.
• 16) Struggle – the Hero and Villain engage in a battle.
• 17) Branding – the Villain leaves an impact on the Hero, either mentally or physically (or even both).
• 18) Victory – the Hero successfully vanquishes the Villain; however, it is not yet known at what cost it came at.
• 19) Resolution – the initial obstacle that the Hero had to overcome, for example their hubris, is overcome.

The Hero’s Return (sphere four) is an optional sphere in the narrative, that makes use of the False Hero character type, in order to elevate the status of the Hero and establish a new normal.

• 20) Return – the Hero sets out on their journey back home.
• 21) Pursuit – the Hero is chased by a secondary antagonist.
• 22) Rescue – the pursuit ends and the Hero is revealed to be safe.
• 23) Arrival – the Hero returns back home; however, they are unrecognisable to the people around them.
• 24) Claim – the False Hero character type is introduced and makes claims that are unsubstantiated.
• 25) Task – a final obstacle is placed in front of the Hero, in the form of a task.
• 26) Solution – the Hero successfully completes the difficult task.
• 27) Recognition – the Hero is once again reconsised after the strength and worthiness they show in successfully completing the task.
• 28) Exposure – the False Hero is outed as a liar.
• 29) Transfiguration- the Hero takes on a new appearance.
• 30) Punishment – the Villain gets their due commupence.
• 31) Wedding – the Hero and the Princess wed and the Hero ascends the throne.

If not apparent before, Propp uses his 31 narrative functions to explain how each of the seven character types interlink. Equally, it is also apparent that the actions of characters are dependent on the actions of other charcters. This further exemplifies the idea that narratives are driven by the actions of charcters.

Tzvetan Todorov’s most revolutionary piece of research into narrative theory is included in his book entitled ‘The Poetics Of Prose’. He suggested that a narrative can be separated into sections based on the idea of equilibrium and how it changes throughout a narrative.

Like Propp, Todrov was primarily fascinated in the flow of a narrative and what impacts the peaks and troughs of the action detailed. He came to the conclusion that a narrative was centred around the idea of equilibrium and that there were different stages (acts) of this.

In essence, he theorised that there were five stages of a narrative and that each stage was characterised by a change to the narrative equilibrium.

The first stage is when the narrative’s equilibrium is established. Character and setting are introduced and the general ‘feel’ of the narrative is quite peaceful and harmonious.

The second stage is characterised by the disruption of said equilibrium. Be that by a Villain (if following Propp’s theories) or a wider event (evident in more recent film narratives).

The third stage is a recognition of this disruption to the equilibrium. Charcters may react rashly to this disruption and there may be a state of panic or unrest, consuming the narrative world.

The fourth stage is shown by an attempted resolution of this disruption. A clear path to the resolution has been set out and characters begin to embark on quests to achieve this (in conjunction with Propp’s theories).

The fifth stage is shown by a restoration of the equilibrium and the narrative world returns to how it was like at the beginning. This represents a cyclical narrative, that isn’t confined to a particular place or time. Conversely, the fifth stage could also be shown by the establishment of a new equilibrium, where chapters and setting have changed. This could be for the better of for the worse and it could be up to the interpreter to decide what they think.

Clearly, there is a somewhat symbiotic nature between the work of Propp and the work of Todorov. That is to say that their theories compliment each other quite nicely. One key difference is that Propp’s theories always relate back to character; however, Todorov seems to adopt a much more broad way of thinking and focuses his theories around the greater progression of the narrative, as it relates to events more so than character.

Claude Levi-Strauss’ work attempted to explain why a narrative was constructed and the meaning behind character interactions. This was theorised as ‘Binary Opposition’ and was the leading idea in his book entitled ‘The Structural Study of Myth’.

Whilst Propp theorised about the importance of character to the progression of a narrative, Strauss looked to explain why the interactions between charcters worked and what informed the progression of the narrative. Strauss looked to achieve this by theorising the idea of binary opposition.

In its broadest sense, binary opposition is good vs. evil. As it relates to Propp, this would be the Hero vs. the Villain. However, it is much more than this. It could also be attributed to the characters sense of of morality and the extent to which they believe certain actions are warranted. This exemplifies the idea that characters that experience binary opposition are placed on a spectrum. That is to say, Strauss encourages the interpreter to assess how far each character is opposed in their ideas. Not only does this provide some intrigue into who is the Hero and who is the Villain, it also encourages the unterpreter to question their own beliefs and ideologies.

Strauss’ theory of binary opposition is important in accentuating the meaning of the narrative because it attempts to explain how and why the narrative culminates a certain way. This is intriguing because it also allows for a narrative twist, as a narrative can subvert the idea of binary opposition to create a different, more shocking, meaning.

Roland Barthes was the founder behind the idea of ‘Narrative Codes’, publishing his research in a book entitled ‘Mythologies’. Essentially, he theorised that there were five different ways (codes) of reading a narrative and that each one achieved a different effect, similar to the more modern idea of narrative positioning.

Two of Barthes’ five codes were known as: action codes and enigma codes. These were arguably the most influential codes because they are the most common codes, utilised by an interpreter. They are, therefore, the most common ways in which narratives lean towards.

Action codes are anything that can be interpreted as having an impact on the progression of the narrative. If we are to use Propp’s theories, action codes are events that happen to characters and cause them to behave differently. In this way of reading the text, the a more basic narrative can be said to be quite linear. That is to say that ‘this happened then this happened’ and so on. However, it can also allow an interpreter to more easily understand why something happened. This can be a more soothing way of interpreting a narrative because there is less of a need to question what happens.

Contrastingly, enigma codes allow for a sense of mystery to develop throughout a narrative. They often are when narratives selectively reveal or omit information altogether. Equally, they can also be present when a new character is revealed (for example, Propp’s False Hero). In more modern-day narratives, they are utilised in the sense of cliffhangers. This reading of a narrative allows for interpreters to question what they have just seen and encourages a more engaged interpretation of the narrrive, where it is important to theories what might happen next.

Whether an interpreter employs a more action code-based or enigma code-based reading of the narrative is down to them; however, it can be manipulated by audience positioning. Nevertheless, most interpreters utilise a mixture of both codes. This achieves the most suspenseful narratives as interpreters are never sure of what is real and can be mislead by a supposed reality or their own misconceptions.

Whilst narrative theories are constantly evolving and developing, most theories can be related back to Propp’s work on the importance of character. This suggests that characters will always be at the forefront of narrative theory and that narratives are almost solely reliant on the apt. use of them.

It may be helpful to contextualise these narrative theories a little bit. As such, Propp’s ‘Morphology of the Folktale’ was published in 1928. This was followed by: Strauss’ ‘The Structural Study of Myth’ in 1955, Barthes’ ‘Mythologies’ in 1957 and, finally, Todorovs’ ‘The Poetics of Prose’ in 1971.

This goes a long way to show the importance of Propp’s early work in understanding that the foundations of narrative are built around character. Strauss then went on to try and explain why the interactions between charcters are so important in creating meaning, within a narrative. After which, Barthes theorised why certain demographics may interpret this meaning differently, to which we now believe as to be the early foundations of narrative positioning. Before, finally, Todorov tried to update Propp’s work on narrative functions, simplifying his 31 functions into five key stages of a narrative, revolving around the idea of change in an established equilibrium. Clearly, narrative theories will change and evolve over time; however, Propp’s work was so important in setting the groundwork for these theories, one can’t help but believe that his theories will continue to be the starting point to which new theorists continue to build off of.

 

 

 

 

 

 

 

 

 

 

 

Narrative in Pulp Fiction

Tarantino utilises different narrative perspectives throughout the four sub-plots in Pulp Fiction, in order to encourage the audience to manufacture different interpretations of the story and characters, this is an effective use of audience positioning.

It is important to understand that the story of Pulp Fiction relates to character and how far each character in a particular sub-plot behaves morally. It is also important to recognise that the four sub-plots in Pulp Fiction are distinguished by more than just character and mise-en-scene. Tarantino uses different narrative perspectives for each sub-plot. This ensures that each sub-plot has a different feel and that the story can be interpreted differently be different demographics.

In order to exemplify this, one must attribute a narrative perspective to each of the four sub-plots and explain why they are impactful and what meaning they create.

The diner sub-plot utilises an unrestricted narrative perspective. The audience are aware of Honey Bunny and Pumpkin’s plan to rob the diner, before they actually commit the crime. From my interpretation of this, the couple seem amateur-ish and this helps to further distinguish their sub-plot from the other three. It is made clear that they are not associated with Marsellus and that they don’t belong in the world of crime. In this regard, I feel sympathetic towards the couple. This is because the climax to their storyline comes at the end of the narrative, after scenes of rape and brutal murder. The robbery of a diner seems tame in comparison and the pair seem like fish out of water.

The Vincent and Jules sub-plot utilises an observant narrative perspective. The audience feels disconnected from the action, which makes the murders that the pair commit seem surreal and unbelievable. This is juxtaposed with scenes of the two conversing about topics, such as: McDonalds and cheating in relationships. These topics are relatable to particular audience members. As such, certain viewers connect differently to these characters. Whilst some viewers might fantasise about the violence the pair commit, others might feel disgusted about the pairs ability to palliate their violence with conversations about Big Macs.

The Butch and Marsellus sub-plot is surprising in the sense that it offers the most unrestrictive narrative perspective. We see the extinguishing of Butch’s innocence, when he learns of his father’s untimely death. We also see the defenceless Marsellus tied down and raped. Each character’s most vulnerable moment is displayed in full view on-screen. Therefore, as a viewer, one feels a strong sense of conflict. Whilst, we know that both men have committed horrendous acts of murder, we see how their lives have been shaped by violence. Tarantino uses this completely unrestrictive narrative perspective to allow the viewer to individually decide on the extent to which Butch and Marsellus’ violence is justified, if at all.

The Vincent and Mia sub-plot offers the viewer the most restrictive narrative perspective. None of Mia’s backstory is revealed, so she radiates a sense of mystery and elusiveness. As such, the viewer feels a sense of voyeurism when viewing Vincent and Mia’s date. When Mia overdoses, the action seems unreal. We view the subsequent events from far away. Tarantino does this to ensure that the lines between fiction and reality are distorted. As such, the viewer is left to interpret the relationship between Mia and Vincent in their own way. This is difficult because of Tarrantino’s use of ellipsis in regards to the omission of information about Mia’s past.

It is clear that Tarantino uses a different narrative perspective for each sub-plot. In fact, the sub-plots can be placed on a scale, dependent on how restrictive their narrative perspective is:

Vincent and Mia | Vincent and Jules | The Diner | Butch and Marsellus

Less Restrictive ————->

The less restrictive the narrative perspective is, the more scope there is for audience positioning and the more interpretations that can arise regarding the true meaning of the story. That is to say, as the narrative perspective becomes less restrictive, it is more conflicting for the viewer when deciding whether or not a character was justified in their actions and whether or not what they did was morally right.

The audience are still able to assess the extent to which characters behave morally in each sub-plot. However, as the audience become more involved in the sub-plot, by virtue of the narrative perspective becomes less restrictive, there are more questions that arise. Vincent seems much more morally bankrupt than Butch, for example. He is a heavy drug-user who made no effort to store his heroin safely; however, Butch is a fatherless man trying to escape the relentless vortex of organised crime. In this regard, the audience are encouraged to weigh up the morality of different character’s actions. This is harder to do with a less restrictive narrative perspective, as the lines between morality and immorality become blurred with backstory and explanation.

Since the viewer’s interpretation of the story is informed by the different narrative perspective in each sub-plot, Tarantino encourages his audience to assess how far each character behaves morally. Tarantino’s measured sequencing of the four different sub-plots drives the story forwards and towards an end destination. However, it is the different narrative perspectives that each sub-plot uses that steers the audience towards an individual interpretation of the story. Therefore, encouraging the audience to assess the extent to which the character in each sub-plot behaves morally. This is because the story relates to character and morality and the different narrative perspectives lead you to question the morality of the character’s actions in each of the different sub-plots.

 

Story and Plot in Pulp Fiction

The narrative structure in Pulp Fiction maintains a sense of storyline ambiguity, through the use episodes and sub-plots.

Clearly, the experimental nature of the narrative structure in Pulp Fiction lends itself nicely to the development of an engaging story. In order to appreciate the intricacies of the story, one must first acknowledge that Pulp Fiction contains a few sub-plots, separated into episodes by inter-titles. This allows for the story to feel segmented at first, until the plots overlap and the story becomes more layered.

By examining the sequencing of the sub-plots, one can begin to see how the story develops in a non-linear sense. When ellipsis is used to inspire the audience into questioning the action and where the sub-plots overlap to add texture to the story. It is also important to note that, on the surface level, Pulp Fiction conforms to traditional ideas of a noir film. As such, the narrative is heavily reliant on explaining why certain things take place, through flashbacks and flash-forwards. However, unlike in a traditional noir film, Tarantino predominantly uses the idea of morality and not violence to inform his character’s motivations. This is important in further understanding the sequencing of the sub-plots.

The sequencing of the sub-plots in Pulp Fiction creates a sense of disjoint in the story, creating further meaning in the form of subtext.

Key:

The preface and coda in the diner.

The Vincent and Jules sub-plot.

The Marsellus and Butch sub-plot.

The Vincent and Mia sub-plot.

 

Scene 1 – Honey Bunny and Pumpkin are seen conspiring to rob a diner. They uncover their weapons and begin the robbery.

Scene 2 – Vincent and Jules converse in a car. The audience learns that they are seeking revenge for their boss, Marsellus Wallace. This comes in the form of the murdering of two people. Vincent and Jules successfully retrieve a briefcase. Throughout this scene, Vincent states that he is taking Wallace’s wife out the following night.

Scene 3 – Wallace and a boxer named Butch are in a bar. Wallace informs Butch that he should throw a boxing match. Shortly after, Vincent and Jules walk in, dressed in different clothes. 

Scene 4 –  The next morning, Vincent buys some heroin from his friend, Lance.

Scene 5 – Vincent gets high and drives to pick Mia Wallace up.

Scene 6 – Mia and Vincent drive to an old-fashioned restaurant, called Jack Rabbit Slim’s. They have a meal and dance.

Scene 7 – Vincent drives Mia back to her house. She mistakes Vincent’s remaining heroin for cocaine and overdoses.

Scene 8 – Panic stricken, Vincent drives Mia to Lance’s house, where they revive her. 

Scene 9 – Vincent drives Mia back to her house.

Scene 10 – We see Butch as a child. He gets a visit from a soldier, who knew his dad. The soldier presents Butch with a gold watch that belonged to his dead father. Butch holds this closely.

Scene 11 – In the present day, we hear Butch fight the other boxer. He was supposed to lose but he won and in winning, he killed his opponent. It is clear that he is a wanted man after disobeying the orders of Marsellus. 

Scene 12 – Butch escapes to a hotel room, where he is greeted by his wife, Fabienne. She reveals that she has left Butch’s watch at their apartment.

Scene 13 – Butch returns to his apartment and retrieves his watch. He shoots Vincent, who was in the toilet. Vincent dies.

Scene 14 – Butch manages to retrieve his watch and returns to his car. After driving a short while, he sees Marsellus at a crossing. Hastily, he runs him over in his car, leaving Marsellus injured and his car totalled. With both men wounded, Marsellus chases Butch.

Scene 15 – Butch flees to a pawn shop, where he is closely followed by Marsellus. The pawn shop owner doesn’t appreciate the violence in his store and knocks both men unconscious.

Scene 16 – Both men wake up in a dark basement, each tied to a chair. The pawn shop owner and his friend, a security guard, bring out a gimp who watches Butch as Marsellus is taken into another room. Marsellus is raped and Butch escapes from the chair. He goes up some stairs to the pawn shop. Deciding to stay and help Marsellus escape, he retrieves a samurai sword and successfully saves Marsellus. Both men make their peace.

Scene 17 – Butch steals the security guard’s chopper motorbike and flees the area with his wife, Fabienne.

Scene 18 – We return to the end of scene 2, when a fourth man jumps out and shoots at Vincent and Jules. He misses. Jules shoots and kills this man. With only one survivor left, named Marvin, Vincent and Jules decide to take him back to Marsellus. This heightened sense of morality is because Jules feels lucky to survive and has a religious epiphany.

Scene 19 – Whilst travelling to Marsellus in a car, Vincent accidentally shoots Marvin. Being unsure of what to do next, they call a friend, named Jimmy (Tarantino).

Scene 20 –  It is revealed that The Wolf will drive to Jimmy’s house and sort the dead body out.

Scene 21 – Vincent and Jules are told by The Wolf to clean the car and change their clothes. 

Scene 22 – The car is driven away by The Wolf. Vincent and Jules drive away.

Scene 23 – It is shown that Vincent and Jules have driven to a diner, the same one from the beginning of the film. Vincent goes to the toilet and Jules witnesses Honey Bunny and Pumpkin’s attempted robbery. Still feeling the effects of his religious epiphany, Jules talks the couple out of the robbery. Vincent returns and he and Jules leave the diner, with it not being robbed.

The story in Pulp Fiction is created through four meaningful sub-plots that overlap, creating meaning through the warped use of time. This allows the audience to be aware of the cause and effect of certain actions, as character motivations are made more explicit to the viewer.

If the Pulp Fiction followed a linear narrative structure, the sub-plots would not interchange. That is to say, looking at my timeline, the colours would be grouped together, not spaced out and overlapping during different scenes. As such, it is clear that the narrative in Pulp Fiction is most certainly non-linear.

However, Tarantino, almost ironically, uses certain elements of a traditional narrative. In fact, the idea of a three-act structure is subverted through the use of inter-titles. These are used before these scenes:

 

• Scene 3 is introduced as ‘Vincent Vega and Marsellus Wallace’s Wife’.
• Scene 11 is introduced as ‘The Gold Watch’.
• Scene 18 is introduced as ‘The Bonnie Situation’.

 

Even though Tarantino uses inter-titles to segment his narrative into three ‘acts’, this seems to be done haphazardly, almost poking fun at the narrative convention. In this regard, Tarantino’s status as an auteur is highlighted.

In short, the story revolves around Marsellus. As the kingpin of this seedy world, it appears strange that he is hardly seen on-screen. Marsellus’ sub-plot is characterised by Butch and his struggle with morality, rather than the crime-boss and his own escapades. It is also significant to note that Marsellus is raped. The theoretical antagonist is shown in the most helpless situation. Tarantino uses his story to further subvert the idea of a traditional narrative, his antagonist is weak and hardly appears on-screen. This is despite the fact that he is the catalyst behind three of the four sub-plots.

Whilst the sub-plots interweave and interchange throughout the narrative, the story is told at an erratic pace. During scene 2, Vincent and Jules spend most of their screen time talking nonchalantly in the car. Tarantino uses an observant narrative perspective to slowly reveal character motivations through precise dialogue. For example, we learn that Vincent is a drug-user, who is quite relaxed and has a gleeful view towards his life. This ensures that when Vincent is shot during the Butch sub-plot in scene 13, it’s more impactful to the viewer because it is fast and sudden. Equally, his death takes place during a different sub-plot, suggesting that the story is unpredictable and that anything can happen.

This is an example of Tarantino’s measured use of narrative pacing. Certain scenes in sub-plots are allowed to play out slowly because of their importance in building an immersive world, where character’s have individual motivations. Contrastingly, other scenes can take place quickly, creating a spontaneous feel to the narrative. This dichotomy in pacing ensures that each action has an explanation (cause) and the ramifications of certain actions (effect) are meaningful to the progression of the story.

The irregularity of the narrative is most exemplified by Tarantino’s use of preface and coda in the diner. The fact that there is a focus on peripheral characters at the beginning and end of the narrative suggests that the story is contained within the 23 scenes. In other words, Tarantino creates a sense of a cyclical narrative, bookended by the shortest sub-plot. This ensures that the story feels conclusive and the viewer feels rewarded for having invested into the narrative.

 

 

 

 

 

 

Key Narrative Concepts

Plot: what viewers see on screen and hear on the soundtrack to allow them to construct a story in their heads. Plots can begin anywhere on the chain of story events and can leap backwards and forwards in time and space.

What happens in the narrative. For example, a policeman walks into a bar and sees a boy and a girl talking to each other in a bar. The boy and girl then go to a cinema. They then go to a park. They then go to a police station. 

Story: “everything that happens in the fictional world between the beginning and the end, including the events that viewers infer or presume to have happened.”

Why the plot is significant, the story adds meaning to the plot. For example, a boy and a girl meet each other in a bar, when the boy asks the girl on a date. Since the girl says yes, they go to a cinema where they watch a movie. Since it is still quite early, they go for a walk in the park where they see a rotting corpse. Since they have witnessed a crime, they go to a police station where the girl sees the boys’ mugshot on the wall.  

Narrative: “flow of story information constructed by the plot at any given moment. Narrative implies a point of view, which may be that of one of the characters or of an omniscient narrator.”

The sequencing of the plot. As the narrative progresses, we follow a plot or, sometimes, multiple different plots. In each plot, a story will begin to develop that explains why the plot is taking place. The narrative is the structuring of the plot/s in a way that produces an overarching story. The story is affected by the narrative because the narrative controls how quickly certain elements of the story are revealed. This is done by manipulating the position of the plot/s.

In my example, the narrative is linear but it could also be cyclical. The plot shows that a boy and a girl go on a date and that it ends badly. The story is that the boy is actually a murderer, so the girl is in danger. This is a linear narrative because it is structured chronologically with a clear destination. As such, it has a three-act structure because there is an inciting incident: they initially are seen to be talking in a bar, different plot points: they go to a cinema and then a park and a climax: the boy is a criminal.

There is also scope for a cyclical narrative. The policeman offers up a different narrative perspective at the start and the story is that he is following the boy from a distance because he is about to arrest him. The linear narrative is subverted and, in fact, there’s a flashback after the policeman initially sees the boy. The girls are revealed to be two different people from two separate nights. The policeman followed the boy the previous night where the first plot took place. The implication is that the boy did this multiple different times and killed each girl later on, only the night before, the policeman had uncovered his crimes. Whilst the singular murder plot only implies one murder has taken place, the story suggests that the boy was a calculated serial-killer. As such, this cyclical narrative creates a different story that accompanies the plot. This story is more chilling because the boy seems more dangerous. The story is also more reassuring because the cyclical narrative ensures that the plot has an ending.

Three act structure: the traditional narrative structure. This allows for a distinct end point to be reached and for characters to change and develop . The structure begins with an inciting incident, followed by different plot points until a climax is reached.

Other types of narrative: a circular narrative begins and ends at the same point. Initially, there may be the start of a plot being established and then a flashback takes place where the viewer learns more about the accompanying story. At the end of the narrative, we see a return to the start where the plot is culminated, with more meaning because the story has been established.

A linear narrative is the most simplistic narrative. It follows a plot from the beginning to the end. As the narrative progresses, the story is told chronologically and plot points that develop the story are uncovered in a coherent order.

An episodic narrative is complex in the sense that it is often used to tell a story that takes place over a long time frame. As a result of this, the story is more intricate as more characters and events can be revealed in each plot. The narrative becomes segmented and the story is told in a series of related events, known as plots. Since the episodes don’t have to be chronologically ordered, the overarching story can remain enigmatic until the final plot synthesises the different plots together, to form one logical story.

Chronological flow: the basic principle that the plot is shown from the beginning to the end, over one time period. This is when the narrative structures the plots together based on when the events happen. The story is more climactic as you have to wait until the end of the narrative for the overarching story to finish.

Character motivation: the idea that the narrative is structured around the development of characters. The plot is structured so that the story tells the audience why a character does certain things. The narrative is ordered so that we know why a character does something before they actually do it, in this regard, the plot most often ignores the principles of chronological flow.

Ellipsis: this is when the narrative omits a certain event from a plot. This ensures that the story is enigmatic because there is no explicit mention of everything that happens. As such, the viewer is left to interpret what happens, owing to multiple different interpretations of the plot, so multiple different viewer-manufactured stories.

Cause and effect: the simple idea that the plot is meaningful on the basis of the story adding depth. In other words, we are shown an effect on screen, for example, a building is on fire and there is a man trapped inside, his screams for help are becoming increasingly more frantic as he gasps for oxygen. This is the plot, it’s what is happening. The building is on fire because the wiring was faulty and sparked. The man trapped inside is the landlord who refused to pay the extra money for more fire-safe electrics. This is the cause of the effect. Incidentally, this is the story. It adds meaning to the plot. The viewer is encouraged to feel a certain way when reacting to the plot. Whether that be to side with a particular character or to think about the wider storyline ramifications of a singular event. The story (cause) is important in explaining why the plot (effect) is significant or why it is happening.

Flashback and flash-forward: these are techniques that enable the narrative to jump back in time or fast forward. They disrupt the chronological flow of the narrative and reveal a plot from a different time period. Often, this uncovers more of a story as a charcters backstory is revealed or the outcome of an event is shown before it actually takes place.

Voiceover/Narration: this is a feature that allows for a more unbiased view on the story. Voiceovers provide an explanation into the plot from the perspective of an informed viewer. This enables the story to progress, without more of the plot being shown. It can also be played for humour, in the form of dramatic irony.

Restrictive narrative viewpoint: this is when the audience are not made aware of the entire story because of the sequencing of the plot. Ellipsis can be used to add mystery and inspire a questioning reading of the film by the viewer.

Unrestrictive narrative viewpoint: this is when the audience are made aware of every plot point, as such they are fully immersed in the story. This makes the narrative seem realistic as the viewer is able to understand why events are happening as they take place; however, it can make the plot seem predictable.

Audience positioning: the theory of polysemy in narrative. That is to say that different demographics interpret the same event or plot in different ways. As such, a diverse audience will manufacture contrasting interpretations of the same idea. This is good for filmmakers because it encourages debate and creates enigma.

Title cards: used to segment different plots and to separate episodes. They allow the audience to be visually shown that there is a distinction between separate storylines. This allows for plots to be viewed in isolation and for different stories to develop at the same time, as well as an overarching plot to be uncovered over the course of the narrative.

Intertitles: they act in a similar way to narration, in that the explain why something is happening. In the absence of an established story, they can be used to explain a plot the audience.

Chaptering: this is another narrative device that allows for the segmentation of different plots. As such, stories can develop independently of each other but still form part of a bigger storyline, that develops over the course of the narrative and climaxes at the end of it.

 

 

 

 

 

 

 

 

 

Pulp Fiction (Quentin Tarantino, 1994)

It’s perversely reassuring to know that nostalgia will always prove to be the most effective storytelling device. Ultimately, this is what Tarantino uses to form the backbone of the narrative in Pulp Fiction. Whilst elements of homage and pastiche help to subtly build an immersive world and to develop characters, the fragmentation of overlapping stories is the most blatant manipulation of the traditional narrative structure.

This is evident by the dynamic attribution of the protagonist descriptor to multiple different characters. Not only does this further the idea of anarchy and disjoint, it helps to create a sense of disconnect between each story. As such, when two stories overlap, for example at the end of the film, there is no clear protagonist. This alludes to a sense of enigma as we don’t know how the story will culminate and it elavates the importance of all of the characters on-screen, making the dialogue seem vital.

In fact, the dialogue within Pulp Fiction is the most intriguing element of the film. Its ironic that the dialogue appears mundane, the conversations seem banal and character’s actions seem unwarranted. However, there is clearly a symbiotic relationship between the dialogue and the actor, neither would work well individually. That is to say that every actor enhances their own dialogue and vice-versa. Most commonly, this is done through Tarantino’s manipulation of mise-en-scene to create particular feelings towards a character by associating them with a certain place or time. For example, Vincent (John Travolta) has stylised hair from the 1980s, equally, his slim-fitting black suit alludes to espionage films of the same era. In this regard, Vincent seems intrusive and secretive. This is important because it ensures that his conversations with Jules (Samuel L Jackson) are the primary way in which the audience gets to know him, rather than his actions or his mannerisms. This furthers the idea that the dialogue drives the character and not the other way around.

Whilst I’m not sure if there is any overriding meaning that Pulp Fiction suggests, I do believe that Tarantino explores many different themes, most prominently violence. The dichotomy between scenes of harsh, unwieldy violence and happy, jubilant dancing expresses a sense of angst and entrapment, suggesting that violence is cyclical, much like the narrative itself. In this regard, it’s interesting that there seems to be no innocence or purity within the film, everyone is violent and uses violence to achieve their goals, albeit some to better avail than others. I admire the way that Tarantino shows the grittiness of violence and how everyone experiences the negative effects of it. However, critically, I appreciate how we are never shown what is in the briefcase that Vincent and Jules retrieve. Whilst, in actuality, I don’t think it’s anything tangible, I am of the opinion that it’s something trivial, perhaps this expresses the film’s meaning in a microcosm.