Meaning and Response: Representation and Aesthetics in Pulp Fiction
Questions in the exam could focus specifically on either representations (of individuals, but more likely on social groups in terms of age, gender, ethnicity or class - though this last area isn't prescribed by the exam board) found in Pulp Fiction or the aesthetics (the look or the style of the film) of Tarantino's movie. Answers to questions on representation or aesthetics may be dominated by discussion of elements of film language (such as cinematography, mise-en-scene, editing, sound or performance) and will in all likelihood make reference to institutional, social and cultural contexts (such as Pulp Fiction being a low-budget, Independent, postmodern film full of pop culture references). Representations and, particularly, aesthetics are also likely to form a substantial part of any essay on one of the critical debates studied for experimental film - auteur. To refresh your memory about the key ideas surrounding meaning and response, representation and aesthetics, click on the links below.
Remember, questions on representation or aesthetics will require you to discuss, in detail, certain scenes from Pulp Fiction - so make sure you have at least two scenes that you can recall in detail. In reality (time permitting) it would be a good idea to also mention at least one other scene; remember, that you are writing a Film Studies essay and, therefore, examiners will expect you to support your points at all times with discussion of examples from the film.
Opening and closing scenes are always useful to know in detail - though remember that this is slightly complicated by the fact that much of Pulp Fiction is told out of chronological order (so, you may consider Captain Coons' Gold Watch monologue to be the opening moment of the story - looking at the film this way foregrounds the narrative significance of the gold watch - whilst the diner scene with Honey Bunny and Pumpkin is the opening scene as presented in the plot). Try, also, to memorise at least one other key scene - and make sure that you are able to make brief passing references to a number of other moments in Pulp Fiction.
REMEMBER that the representations of individual characters, social groups and places are achieved through the use of film language - and much of what we have discussed regarding elements of mise-en-scene, cinematography, performance and even editing and sound will definitely be useful in this essay.
So, some of the points you have made in the separate sections of film form may be useful when discussing representation, but you must make sure that you restructure these points so that the emphasis of your discussion focuses specifically on this area; how do choices regarding film language present gender or ethnicity in a particular way. The first argument that you should make when discussing representation is that, most significantly, Pulp Fiction foregrounds representational issues regarding gender and ethnicity rather than age. In any essay it may make sense, given the time constraints, to just choose ONE area of representation to discuss; either ethnicity or gender.
Points to consider regarding the representation of ethnicity include:
- the use of the term 'nigger' and its derivatives
- the representation of Marcellus as economically successful and culturally sophisticated
- the representation of Jules; his character arc and readings of him as the film's protagonist
- the power dynamics between paired black and white characters
- the influence of Blaxploitation movies on Tarantino
Much of the discussion regarding race and ethnicity in relation to Pulp Fiction has surrounded the heavy use of the film's racist term 'nigger' (or derivations of the word such as 'nigga' or 'negro') - a term that appears frequently not only in Pulp Fiction but also in many of the films Tarantino has directed, including Reservoir Dogs, Jackie Brown and Django Unchained. Critics of Pulp Fiction, and of its director (often sections of the media or sections of the black community), suggest the repeated use of the word and, in particular, the way it is used so casually (often by white characters such as Lance, Vincent's drug dealer, and Jimmie, played by Tarantino) reinforces negative racial stereotypes and, because of the movie's cult, pop culture cool, has popularised the term, mainstreaming it by appearing to make it quotable and therefore acceptable. Black American film director Spike Lee has been particularly critical of Tarantino's use of 'nigger', suggesting that he sees it as 'trendy or slick', without realising the potential damage its frequent, indifferent use might cause. Lee also criticised Tarantino for Django Unchained, which he felt was disrespectful and exploitative of black history.
The 'N' word is a cultural hand grenade. Unquestionably disgusting, oppressive and abusive in its origins, no other word causes such an emotional reaction across American society. No other word has received its own funeral. Even historically great defenders of the word such as comedians and actors Richard Pryor, Eddie Murphy and Chris Rock have expressed regret over using the word in the latter stages of their careers. The NAACP (one of the greatest civil rights organisations in America), partly in response to how ubiquitous the term had become in popular culture (including films made by Tarantino) held a funeral for the word in 2007. It is from this point on that some people, institutions and organisations refused to even utter it, regardless of context, preferring instead to use the term 'N word' in reference to it. Clearly, you cannot 'kill' a word, so sections of the black community chose to reclaim it. The idea here is that black people 'own' the word; they decide who uses it, how, when and why, allowing them to change its meaning and taking the 'power' out of it.
Blaxploitation movies of the 1970s are a clear influence on Tarantino (who endlessly watched cult films and movies on the fringes of the mainstream during his time as a video store clerk). Many of these films, whilst popular at the time, appear extremely offensive to audiences today; they are full of negative stereotypes (black sexual prowess, for example) and frequent uses of the term 'nigger'. Despite these representations, the genre was popular within the black community because ethnic minorities saw themselves on screen for the first time not as slaves, criminals, victims or maids but as the heroes. These films crossed over to a wider/whiter audience and there is little doubt that they left a clear impression on a young Tarantino. There is no doubt that Tarantino's representation of ethnicity is partly as a result of immersing himself in these films (in much the same way that his movies are full of intertextual references to movies generally). There is no doubt, either, that society has a much better understanding of the'N' word, and the appropriateness of its use today, than audiences did in the 1990s. It is possible that Tarantino is exploring this very theme in Pulp Fiction.
It is worth considering the ways that the term 'nigger' is used in the film which, in turn may lead you to consider the ways in which race is presented by Tarantino. The cultural politics of the use of the term, to whom and under what circumstances (as well as how to gauge the intended meaning) were areas of racial etiquette that remained relatively unchartered in the decade before the release of Pulp Fiction but by the time of the film's release the word 'nigger' or 'nigga' experienced frequent circulation in popular culture (through music, film, stand-up comedy and literature) whose audiences were both black and white. In this sense, it is possible to argue that the incessant use of the word in Pulp Fiction, and later Jackie Brown, is less about crude racism and more a reflection of the ubiquitous and disorderly deployment of the word across contemporary American popular culture. It is also possible to argue, also, that the film often awkwardly deploys the term 'nigger', or variations of the word, and offers fantasised visions of black masculinity; but this is perhaps a misreading of Tarantino's intentions. Consider four possible dimensions of the use of the word 'nigger' in Pulp Fiction:
- Used by black characters (allowing those characters to reclaim the word) - this use is fairly easy to defend on the basis of 'realism' or 'authenticity'. If we listen carefully to how the term is employed by characters such as Jules and Marcellus (the primary users of the word in the film), we see that they tend to employ it either as a term for a certain type of person (dodgy, criminal), not as a reference to all black people (in keeping with Chris Rock's distinction between black people and 'niggaz') OR as an inclusive term, positioning the character they are talking/referring to with them, even if they are white. Marcellus asking Butch if he is 'My nigga' could signal either use, whilst referring to Vincent as 'my nigga' seems an inclusive use of the word - both uses of the word not in the script and added by actor Ving Rhames - as does Jules responding to Marcellus when he realises he is sending the Wolf to help clean up Marvin's body with 'Shit Negro, that's all you had to say'
- Used by Zed and Maynard (outright racism) - when these characters use the term to describe Marcellus before the rape scene there can be little doubt of its racist intent (reinforced by the use of the Confederate flag in the doorway of the pawnshop)
- Used by Lance, Vincent's drug dealer (revealing the misuse of the word) - when Lance asks Vincent 'Am I a nigger?' when they are discussing the prices of heroin, the term is potentially used to reveal the character's racism, and to suggest that a black dealer would 'rip off' his customers in a way that Lance wouldn't. It is possible that Tarantino is simply revealing inherent or even unintentional racism within the character, suggesting that rather than Tarantino being racist, the director is in fact considering the complexity of racism and the difficult subject of unintended or indirect racism. Tarantino is most certainly pointing out that racism is common place. Consider, also, the fact that Vincent and Butch never say the word, even though they are completely surrounded by it; think about why Tarantino makes the drug dealer say it
- Used by Jimmie (played by the film's writer and director, Tarantino) - the only other white character who says the word (not just once, but repeatedly) is Jimmie, a peripheral character played by the film's writer and director. It is unlikely that this is a coincidence; that Tarantino (a filmmaker criticised for his use of the word) would put himself in the movie and say 'nigger' (unnecessarily) over and over again, unless he was making a point about the use of the word. As if to underline the point that Jimmie is not racist, we later learn (through a flashforward) that he is married to a strong, independent black woman; we know he loves her because he's terrified by the prospect of divorce, we know that she's strong and intimidating because of what Jimmie says. You can argue that Tarantino is suggesting that the word can be used without necessarily being racist (though it can be used that way too), that he uses the word in numerous ways; to empower, to be realistic, in a sensitive way that reflects the reality of the black experience in America today in a multilayered way
Discussions regarding the representation of race and ethnicity, then, surround Tarantino's work but whilst some of this discussion suggests that Tarantino stereotypes black characters, much of it suggests that the director presents race and ethnicity in a largely positive and atypical way (certainly compared to more conventional, mainstream Hollywood movies). Critic Alan Stone, in his 1995 review of the film, suggested that Pulp Fiction was in fact 'politically correct':
"There is no nudity and no violence directed against women...It celebrates interracial friendship and cultural diversity; there are strong women and strong black men, and the director swims against the current of class stereotype."
It is possible to argue that racism is a mindset that whites must forcefully object to, even if it means risking their own well being. This is perhaps best exemplified in the rape scene featuring Marcellus, a hitherto powerful black man who is sexually degraded by two white 'redneck hillbillies', Zed and Maynard (a crude symbolic nod to white racism in America, where the black man is subjugated by more powerful white men). Whilst it is clear that Butch and Marcellus are enemies (with Butch double-crossing Marcellus by not taking a dive in his boxing bout), Butch returns after escaping to rescue Marcellus despite his death feud with the mob boss. A strong case can be made to suggest that when Butch returns to save Marcellus from his attackers that he fulfills the classic Hollywood convention of the rehabilitated white male hero who, no matter how flawed, assumes moral authority in the film (a positive representation of the white man as saviour). Butch does so, however, by confronting racial bigotry. The Confederate flag in the doorway of the pawnshop (one of the most racially charged symbols of American racism for many African Americans) suggests that the assault on Marcellus is racially, not sexually motivated and Butch's return perhaps symbolises (despite intense antagonisms between blacks and whites in America) some kind of racial reconciliation.
It is certainly possible to argue that Tarantino is an inclusive director, in the sense that he casts black and Asian actors in many of his films; Pulp Fiction is noticeable for the prominence of both Jules (played by Samuel L Jackson) and, to a lesser degree, Marcellus Wallace (played by Ving Rhames). Both men are interesting and charismatic criminals with a moral code, with Marcellus' character developed beyond the stereotypical gangland boss. It is certainly possible to argue that when the audience first meet Marcellus he is presented as powerful but also considered and calm, a man to be respected, but not an unhinged mobster. There are hints that his wife is perhaps his weakness - we rarely see them together, certainly not intimately, which may indicate that there is a rift between them. Marcellus' violent jealousy over one of his henchmen giving her a foot massage suggests that beneath his cool exterior, passions rage. Even after being sodomised, however, he manages (just about) to retain control and is measured in his conversation with Butch. Marcellus' home is a space where black 'taste' is affirmed (through the mise-en-scene), a point underscored when Vincent arrives to take Marcellus's wife Mia out to dinner (on the orders of Marcellus). The entranceway to the apartment is tastefully landscaped and stylishly accentuated with Africanesque statues and the African art motif is continued inside the home and is highlighted again when Mia tells Vincent to use the statues to help him navigate towards the intercom. Marcellus' home is spacious as well as chic and contains high-end surveillance cameras and monitors. These props clearly indicate to the audience that Marcellus is economically successful, and although it is possible to argue that Mia fulfills the convention of the bored white trophy wife, the African art motif signifies black culture and suggests the house is a self-consciously black space. The glimpse that the audience is given into Marcellus' domestic space is important because it establishes his cultural sophistication and material attainment (a black man, rather than a 'nigga' when considering Chris Rock's sketch); positive representations in relation to race/ethnicity.
Jules is arguably the only character to have a conventional character arc and the only character to really go on a transformative journey (despite the fact that the character leaves the narrative at the story's mid-point, his transformation is foregrounded by the way that Tarantino organises events in the plot, arguably positioning him as the film's central protagonist). Whilst Butch escapes a life of punch-drunk rigged boxing matches, he doesn't really change as a person; certainly not in the way Jules does. That sense of epiphany and revelation is reserved for the film's black lead, who is presented as a rounded character, not least because he quotes from the Bible and gives his mother foot massages but also because in his final scenes the audience get the sense that he feels deeply (in a way that many of the other characters do not). The final scene in the plot where Jules 'buys' the life of Ringo/Pumpkin so that he doesn't have to kill him is evidence of an emerging moral seriousness. In this sense, Pulp Fiction defies the convention in traditional Hollywood films of only privileging white men; Jules is the only character to achieve the moral high ground. The miracle in the apartment, which only Jules acknowledges, is the catalyst for him announcing his retirement as a hitman. As a result, Jules is able to fulfill a role rarely afforded a black character in Hollywood movies; a redeemed and empowered figure who lives to the end of the film.
It is also possible to argue that Pulp Fiction pairs black and white characters (most notably Jules and Vincent, but also Marcellus and Vincent and Marcellus and Butch) in such a way that the power dynamics between them fail to follow the Hollywood convention that repeatedly situates black characters as subservient, secondary characters (an argument for institutional racism within the industry). When it comes to pairing black and white characters in films, Hollywood repeatedly represents black characters as existing only to facilitate the life and love(s) of their white partners; there is a tendency to make black characters stereotypical, derivative figures who articulate purpose and relevancy exclusively in relation to the white protagonist (Driving Miss Daisy, Ghost, The Last Boy Scout, American History X, The Green Mile). Undoubtedly, Pulp Fiction stands in stark contrast to the lopsided ways that Hollywood has habitually fit white and black characters together (and the ways that black characters are often represented). On the face of it, Jules and Vincent engage in mundane conversation simply to pass the time (and, to foreground to the audience the auteur's ability to write cool, pop culture-referencing dialogue). The discussions the pair have (regarding Amsterdam and the metric system, the nuances of foot massages and the possibility of divine intervention) are, however, more than simply entertaining banter. Instead, they emphasise that Jules is a bona fide peer of his white counterpart (rather than a subservient, inferior partner) or, in fact, an intellectual and philosophical superior to Vincent; out of the two, it is Jules who seems to determine what happens, taking the lead in situations such as the retrieval of the briefcase from the apartment.
Tarantino writes great roles for women, not just in Pulp Fiction but across many of the other films he has written and directed (True Romance, Kill Bill Volume I, Kill Bill Volume II, Jackie Brown, Inglorious Basterds, Death Proof) and certainly Mia Wallace has a stand-out role in Pulp Fiction. It is hard to argue, however, that the narrative isn't still largely focused on the male experience of Jules, Vincent and Butch, as it was in Reservoir Dogs, Django Unchained and The Hateful Eight.
Mia does have a degree of power and she clearly is in charge of her own destiny (despite the heroin overdose, where she needs Vincent, a man, to 'save' her), something that Vincent is not (shown with his death in Butch's apartment). Mia's representation is unusual and unconventional, in the sense that she is not presented as a typical femme fatale figure (a stock character type found in the film noir genre that Tarantino has been heavily influenced by and that is clearly represented on the main posters for the film). Neither is she a stereotypical gangster's moll; a woman who quietly and subserviently does her husband's bidding, a woman without a voice or an opinion. She appears independent, never shot in a scene with her husband (apart from very brief glimpses of her around the pool and in Butch's dressing room), but also bored and curious; shown through her cocaine use and her attraction to Vincent. Tarantino has his critics in terms of misogyny (as he does with regards to racism) but his films frequently show women avenging themselves on men (Kill Bill Volume I, Kill Bill Volume II, Jackie Brown, Death Proof, Inglorious Basterds) and it is certainly possible to read her 'date' with Vincent as just that, despite the fact that the relationship is never consummated. Notably, none of the women in the film are objectified or sexualised through their figure behaviour or costume.
Criticisms of Tarantino's representation of women across the body of his work suggest that the women in his films are merely devices used to enhance male qualities, or figures upon which male fantasies can be projected. This is certainly not true of the female characters in Pulp Fiction. Closer scrutiny reveals a much more involved role for the women, who often play against stereotypes, as Mia does. Honey Bunny/Yolanda is a female psychopath who immerses herself in the male codes of violence as she takes a lead role in the robbery of the diner; it is Yolanda/Honey Bunny who barks out the expletive-laden orders to the customers at the end of the first scene of the plot. Whilst she becomes emotional and hysterical in the film's final scene (more stereotypical female characteristics), even here she is presented as no less vulnerable and scared than her male partner Ringo/Pumpkin. Throughout their scenes together she is certainly presented as his equal, if not his superior (as she is credited with the innovative idea of taking the customers wallets).
Some of the female characters in the film do, however, conform to more stereotypical representations of gender, most notably Fabienne. Fabienne is presented as vulnerable in the face of Butch's rage when it is revealed that she has forgotten to bring his gold watch from the apartment. The shots of her cowering in the corner of the motel room in tears reinforce negative female stereotypes but this representation of female vulnerability is rare in Pulp Fiction. In reality, many of the male characters are presented as equally vulnerable at points in the film (such as Butch and Marcellus during the rape scene). It is worth pointing out, also, that despite scenes of violence and aggression (stereotypically masculine traits) displayed by many of the male characters throughout the film even these male characters show sensitivity and compassion at key moments in the narrative (Vincent in his scenes with Mia, for example).
Any question on aesthetics essentially requires you to discuss the look and/or style of the film; therefore, much of the information in your notes on film form (cinematography, mise-en-scene, editing, sound and even performance) will be important in this essay, particularly in regard to the way that Tarantino uses film language in way that can be described as 'experimental'. There is a consistently experimental style that runs throughout Pulp Fiction partly because the film is experimental and postmodern and partly as a result of the fact that it is directed by an auteur who is attempting to develop his own auteur signature. You may also want to suggest that the film's aesthetic is, in part, a result of the genre it belongs to (crime/gangster) and the fact that it is an Independent film made outside of mainstream Hollywood. Each of these can (and should) be regarded as influences on the film's aesthetics. You can certainly discuss what Tarantino does with the film's narrative structure in any essay on the style of Pulp Fiction.
The information you need to write about the film's aesthetic can be found by clicking on the links to film form and postmodernism below. Just remember, you will need to condense this information, perhaps picking a single point from each area of film form OR summarising each area of film form; there will simply not be enough time to make all the points about each area of film language. Please take time to plan and organise this material. We have covered everything you need on separate posts BUT you must take time to gather the relevant information together.
Typical questions related to both representation and aesthetics can be found below. It is important that you attempt them (at least one on representation and at least one on aesthetics), combining the notes above with your own analysis of key scenes. When practicing essays it will help with your revision if you re-watch moments from the films and pick appropriate scenes to analyse.
1. With reference to key sequences from your chosen film option, discuss how representations of gender, age or ethnicity reflect the time in which the film was made.
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3. Explore the representations of ethnicity in your chosen film option. Make detailed reference to particular sequences in your answer.
4. 'Both men and women are often represented stereotypically on film.' How far is this true in the film option you have studied? Make reference to key sequences from the film you have watched.
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4. 'Both men and women are often represented stereotypically on film.' How far is this true in the film option you have studied? Make reference to key sequences from the film you have watched.
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5.. 'Ethnic minorities are often represented stereotypically on film.' How far is this true in the film option you have studied? Make reference to key sequences from the film you have watched.
6. 'The style of a film has more of an impact on the spectator than the story itself.' With detailed reference to key sequences from your chosen film option, discuss the importance of aesthetics in creating pleasure for the audience.
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6. 'The style of a film has more of an impact on the spectator than the story itself.' With detailed reference to key sequences from your chosen film option, discuss the importance of aesthetics in creating pleasure for the audience.
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7. Discuss how far your chosen film reflects aesthetic qualities associated with a particular film movement. Make detailed reference to particular sequences in your answer.
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8. To what extent do aesthetic qualities contribute to the impact of your chosen film? Refer in detail to specific sequences.
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9. Discuss how aesthetics are used to communicate important themes or ideas in your chosen film option. Make detailed reference to particular sequences in your answer.
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10. How far is the aesthetic of your chosen film option influenced by the director? Make detailed reference to particular sequences in your answer.
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11. In what ways can the aesthetic of your chosen film be considered to be 'experimental'? Make detailed reference to particular sequences in your answer.
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