Pulp Fiction and Editing
Questions in the exam could focus specifically on the ways in which choices regarding editing (transitions, breaking the rules of continuity editing and other unconventional editing techniques, pace, the re-structuring of narrative events) create meaning for audiences BUT a number of other types of questions may require you to make reference to editing - even if the term is not in the title. Answers to questions on representation or aesthetics may include discussion of editing and you should mention editing in essays about institutional context (how choices may be as a result of the fact Pulp Fiction is a low-budget, Independent movie made by Miramax) and the critical debates studied for experimental film - this is particularly important in relation to both narrative and auteur (choices regarding editing can be linked to the fractured, non-linear narrative structure and are particularly useful when discussing Tarantino's auteur signature). It is likely, also, that you will refer to editing in a question on cinematography (long takes for close ups, the unusual editing in relation to camera set-ups in many of the conversation sequences) and even in an essay about mise-en-scene (the editing in the heroin montage, for example). It is possible that any question on editing will ask you discuss the ways that the editing contributes to the 'experimental' nature of the film, so you must be able to discuss what is different or unusual about Tarantino's use of editing, discussing the ways that it challenges what we are used to seeing in mainstream cinema.
To refresh your memory about the key terms for editing, click on the links below.
Remember, questions on editing 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.
In reality, you probably only have time to make three or four solid points, with examples, so you should focus on some of the ideas outlined below, sticking to the elements of editing that we can consider as 'experimental' or unusual compared to the editing techniques that audiences are used to:
Much of what we have already discussed regarding the film's narrative structure can be directly related to Tarantino's 'experimental' editing and this would be a good point to make in your first major paragraph. You can discuss the way that he has edited the movie so that the plot presents story events out of chronological order. You should give examples and discuss what the effects of this decision are on the audience. You may also want to link this to postmodernism and Tarantino as an auteur. Re-reading the posts on narrative, experimental film and postmodernism will help you develop this point; just remember to focus on the fact that the film has been edited so that events are presented in this fractured, non-linear way.
Another useful point to make regarding editing that can be considered to be experimental relates to the unusual way that many of the conversation sequences are edited in Pulp Fiction. Again, this point has been made in relation to cinematography and again the effect is the same on the audience when you discuss these scenes in relation to editing decisions. As with the examples above, you may need to make one or two minor tweaks so that the focus is clearly on the editing rather than the camerawork. Re-read the section below to refresh your memory.
Many of the conversation scenes in Pulp Fiction are edited in unconventional ways. Typically, conversation sequences are shot with a series of over-the-shoulder shots (with occasional side-on two shots), cut together in a shot-reverse shot pattern. Whilst some of the conversations in the movie are edited this way, many aren't, which further unsettles, disorientates and confuses the spectator. The effect of this is that the audience are often unsure of which character they are supposed to be positioned with (linking to Tarantino's rejection of conventional antagonists and protagonists). Usually, it is clear to the audience which character they should align themselves with as a result of the patterning of the shots and the editing. Good examples of this unconventional approach to conversations include:
Some of the editing techniques used in the film can be related to Tarantino's postmodern breaking of the fourth wall, particularly his decisions to use titles or the rectangle that Mia draws on the screen when she and Vincent are parked outside Jack Rabbit Slims. Titles are used to separate the interlinked stories that make up the narrative and their inclusion reinforces to the audience that we are watching a carefully constructed film, broken down into chapters in a similar way to a novel. Another example of a title being used can be found in the scene where Mr Wolf arrives at Jimmie's to help Vincent and Jules dispose of Marvin's body.
The use of rear projection in two driving scenes in Pulp Fiction (when Vincent drives to meet Mia after injecting heroin and when Butch flees the fight in a taxi) can also be considered an 'experimental' use of editing. Part of Tarantino's auteur signature is intertextuality and the ways he pays homage to existing films, particularly those with cult status. The use of rear projection pays homage to a style of editing typical of 1940s and 1950s B-movies, often from the crime genre, where this technique was a common, cost-effective way of implying that characters were driving. Again, this type of editing is incredibly stylistic and foregrounds to the audience that they are watching a carefully constructed movie rather than an authentic representation of reality.
Another way that Tarantino experiments with conventional editing techniques is by breaking the rules of continuity editing; particularly the 180 degree rule. Filmmakers conventionally film scenes involving characters interacting from one side of an imaginary line, so that the characters remain in the same position in the frame in relation to each other, with the background space remaining consistent from shot to shot (which helps the editing remain 'invisible'). Breaking this rule is unusual and often unsettling and confusing to the audience and is sometimes used to indicate to the audience the significance of whatever is happening in the scene at that moment. One obvious moment when Tarantino breaks this rule is in the final scene in the plot (the second scene in the diner as Ringo/Pumpkin attempts to rob Jules and steal Marcellus' briefcase). Throughout the interaction between Jules and Ringo/Pumpkin, Jules remains on the left of the shot, whilst Ringo/Pumpkin is repeatedly positioned on the right of the frame. At the crucial moment when Jules reveals that 'normally' he would have killed Ringo/Pumpkin but he has made a decision to quite the life of crime and try and be a better person, the 180 degree rule is broken and Jules appears on the right of the frame whilst Ringo/Pumpkin is on the left. Tarantino also breaks this rule in conversation sequences between Vincent and Mia in Jack Rabbit Slim's (where both characters repeatedly appear on the right of the frame during their conversation), between Paul and Vincent when he asks about Vincent's date with Mia in Marcellus' bar (towards the beginning of the film) and between Butch and Fabienne in the motel after Butch has thrown the fight.
Remember, questions on editing 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.
In reality, you probably only have time to make three or four solid points, with examples, so you should focus on some of the ideas outlined below, sticking to the elements of editing that we can consider as 'experimental' or unusual compared to the editing techniques that audiences are used to:
- the editing of the film so that the narrative is non-linear or fractured with the plot presenting story events out of chronological order
- Tarantino's use of long takes for close ups and medium close ups
- unconventional editing patterns for a number of conversation sequences
- editing that draws attention to the fact that the audience are watching a film, including titles and text appearing on screen and the drawing of the rectangle by Mia
- other unconventional, stylistic, editing techniques such as rear projection
- breaking rules of continuity editing such as the 180 degree rule and match-on-action
- flashforwards in both the heroin montage scene and 'The Bonnie Situation'
Much of what we have already discussed regarding the film's narrative structure can be directly related to Tarantino's 'experimental' editing and this would be a good point to make in your first major paragraph. You can discuss the way that he has edited the movie so that the plot presents story events out of chronological order. You should give examples and discuss what the effects of this decision are on the audience. You may also want to link this to postmodernism and Tarantino as an auteur. Re-reading the posts on narrative, experimental film and postmodernism will help you develop this point; just remember to focus on the fact that the film has been edited so that events are presented in this fractured, non-linear way.
One crucial point to make is related to Tarantino's frequent use of long takes. Long takes themselves are not particularly experimental but the way that Tarantino uses them for close ups and medium close ups can certainly be described as unusual, unconventional and 'experimental. There are numerous examples throughout the film (a good example is the long take on Butch whilst Marcellus is talking to him about taking a dive) and you must make sure that you discuss the effects of this editing choice on the audience. We have covered this point in the cinematography post (where the focus was on the shot rather than the editing) so you should be familiar with it. Re-read the section below and make any minor tweaks so that the focus is clearly on the editing rather than the camerawork. Remember, regardless of whether you are discussing these scenes for editing or cinematography, the effect on the audience is the same.
In mainstream cinema audiences expect close ups to be on screen for a relatively short period, certainly much shorter than long shots or extreme long shots. Tarantino frequently uses long takes (sometimes painfully so) for close ups or medium close ups, creating tension and a sense of unease in the spectator or forcing the audience to position themselves with certain characters. As a general rule of thumb, the closer the shot the less time it is on screen for and Tarantino's manipulation of these expectations is another good example of the director experimenting with cinematography. A good example of this is during the scene when Marcellus tells Butch to throw the fight - not only is there an incredibly long take on the close up of Butch as Marcellus talks to him (for over two minutes), later in the scene the camera is positioned behind Marcellus's head, over his shoulder (as he is talking) positioned facing Butch. Tarantino frequently uses shallow focus in conventional ways (such as when Butch wakes from his dream/memory of Captain Coons giving him the gold watch) but during this scene Tarantino uses shallow focus in the opposite way from its conventional use. The back of Marcellus' head as he talks is in focus whilst Butch's face is out of focus. Conventionally, it would be Butch's face in focus so that the audience can gauge his reaction. The manipulation of this convention is very unnerving and unsettling for the viewer.
Many of the conversation scenes in Pulp Fiction are edited in unconventional ways. Typically, conversation sequences are shot with a series of over-the-shoulder shots (with occasional side-on two shots), cut together in a shot-reverse shot pattern. Whilst some of the conversations in the movie are edited this way, many aren't, which further unsettles, disorientates and confuses the spectator. The effect of this is that the audience are often unsure of which character they are supposed to be positioned with (linking to Tarantino's rejection of conventional antagonists and protagonists). Usually, it is clear to the audience which character they should align themselves with as a result of the patterning of the shots and the editing. Good examples of this unconventional approach to conversations include:
- Butch's conversation with Marcellus about throwing the fight, where Butch is shown in close up and medium close up, in shallow focus (using a long take) whilst the camera is positioned behind Marcellus' head (with the back of his head in sharp focus) as he talks - this is a single long take, with no editing
- Vincent and Jules' conversation outside the apartment door when they discuss Vincent's 'date' with Marcellus' wife Mia, which is shot entirely from behind the men (focusing on the back of the characters' heads) in a tightly framed medium close up. Throughout the conversation the audience are unable to see either character's face and are therefore unable to read their responses and reactions through their facial expressions - again, this is a single take, with no editing
- Vincent and Jules' conversation outside the hallway before they enter the apartment, where they discuss the fallout from Tony 'Rocky' Horror giving Mia a foot massage, is shot in a single long take, long shot. Even though the characters are positioned towards the far end of the hallway, their conversation is clearly audible to the audience
- The conversation between Mia and Vincent when they eat in Jack Rabbit Slim's is edited slightly more conventionally, with Tarantino cutting back and forth between the characters as they speak. Rather than using conventional over-the-shoulder shots, however (apart from the last two cuts) Tarantino chooses close ups and medium close ups
- Butch's conversation with Fabienne in the motel, which is shot from outside the bathroom door in a single take (with no editing) with Butch off-screen (behind the bathroom door) for almost the entirety of the conversation
Some of the editing techniques used in the film can be related to Tarantino's postmodern breaking of the fourth wall, particularly his decisions to use titles or the rectangle that Mia draws on the screen when she and Vincent are parked outside Jack Rabbit Slims. Titles are used to separate the interlinked stories that make up the narrative and their inclusion reinforces to the audience that we are watching a carefully constructed film, broken down into chapters in a similar way to a novel. Another example of a title being used can be found in the scene where Mr Wolf arrives at Jimmie's to help Vincent and Jules dispose of Marvin's body.
The use of rear projection in two driving scenes in Pulp Fiction (when Vincent drives to meet Mia after injecting heroin and when Butch flees the fight in a taxi) can also be considered an 'experimental' use of editing. Part of Tarantino's auteur signature is intertextuality and the ways he pays homage to existing films, particularly those with cult status. The use of rear projection pays homage to a style of editing typical of 1940s and 1950s B-movies, often from the crime genre, where this technique was a common, cost-effective way of implying that characters were driving. Again, this type of editing is incredibly stylistic and foregrounds to the audience that they are watching a carefully constructed movie rather than an authentic representation of reality.
Another way that Tarantino experiments with conventional editing techniques is by breaking the rules of continuity editing; particularly the 180 degree rule. Filmmakers conventionally film scenes involving characters interacting from one side of an imaginary line, so that the characters remain in the same position in the frame in relation to each other, with the background space remaining consistent from shot to shot (which helps the editing remain 'invisible'). Breaking this rule is unusual and often unsettling and confusing to the audience and is sometimes used to indicate to the audience the significance of whatever is happening in the scene at that moment. One obvious moment when Tarantino breaks this rule is in the final scene in the plot (the second scene in the diner as Ringo/Pumpkin attempts to rob Jules and steal Marcellus' briefcase). Throughout the interaction between Jules and Ringo/Pumpkin, Jules remains on the left of the shot, whilst Ringo/Pumpkin is repeatedly positioned on the right of the frame. At the crucial moment when Jules reveals that 'normally' he would have killed Ringo/Pumpkin but he has made a decision to quite the life of crime and try and be a better person, the 180 degree rule is broken and Jules appears on the right of the frame whilst Ringo/Pumpkin is on the left. Tarantino also breaks this rule in conversation sequences between Vincent and Mia in Jack Rabbit Slim's (where both characters repeatedly appear on the right of the frame during their conversation), between Paul and Vincent when he asks about Vincent's date with Mia in Marcellus' bar (towards the beginning of the film) and between Butch and Fabienne in the motel after Butch has thrown the fight.
A further way that Tarantino experiments with editing techniques by breaking the rules of continuity editing is when he frequently breaks the rule of match-on-action. Filmmakers conventionally have characters or vehicles moving in roughly the same direction from shot to shot, to maintain the flow of action and to ensure the editing remains seamless and attention is not drawn towards style and away from the narrative. Breaking this rule can be unsettling, disorientating and confusing for the audience and is often used to suggest that something unusual or untoward is about to happen. There are a number of occasions in Pulp Fiction where Tarantino chooses to break this rule, perhaps most noticeably when Butch drives away from his apartment having killed Vincent, when Butch leaves on Zed's chopper after he has rescued Marcellus and when Vincent and Jules enter the apartment block to retrieve the briefcase for Marcellus early in the plot. After killing Vincent, Butch gets in his car and drives away from the scene right to left. As Tarantino cuts to the next shot the audience witness Butch's car travelling in the opposite direction, left to right. Within a few moments he sees Marcellus (the gangster boss he is trying to avoid), runs him over and crashes his car. The scene that follows alters the course of the narrative dramatically, ultimately ending in a pact between the pair that means that Butch is free to leave LA alive despite having disobeyed Marcellus' orders to throw the boxing match. Similarly, when Butch leaves Maynard's Pawn Shop after killing Maynard and freeing Marcellus, he takes Zed's chopper and rides off moving left to right. Tarantino immediately cuts to Butch arriving at the motel where Fabienne is waiting for him, but this time he rides in the opposite direction, right to left. Finally, in the scene, towards the beginning of the plot, where Jules and Vincent arrive at the apartment block to retrieve the mysterious briefcase for Marcellus, Tarantino again breaks the rule of match-on-action. As they approach the apartment block, they walk towards the entrance left to right. As Tarantino cuts to inside the lobby of the apartment block the audience witness the characters enter the building, but this time they are moving right to left. The scene that follows (which the audience see much later in the plot towards the end of the film) has significant consequences on the narrative. Jules and Vincent survive a shootout inside the apartment which, in turn, leads to Jules giving up the 'gangster life'. Arguably, this in turn leads to Vincent's death as he is alone, and not with his partner, as he waits for Butch later in the story. In both scenes the breaking of match-on-action precedes violent, narrative-altering moments.
You could also discuss Tarantino's use of flashforwards at certain points in the movie. Flashbacks are relatively common, frequently used in films to fill in backstory for the audience or to reveal information about a character's motivation. Flashforwards, moving from the present to the future and back to the present again, are much more unconventional and unusual. Tarantino uses a flashforward during 'The Bonnie Situation' when the characters discuss the possibility of Jimmie's wife returning and finding a dead body in the house and also during the heroin montage sequence when he cuts forward to Vincent driving whilst high, between extreme close ups of Vincent cooking up and injecting heroin. Both uses are incredibly stylistic and again draw attention to the fact that the audience are watching a carefully constructed movie rather than a reflection of reality.
Typical questions related to editing can be found below. It is important that you attempt them, 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 film and pick appropriate scenes to analyse.
1. Explore how far editing contributes to the 'experimental' identity of your chosen film.
3. Explore how aspects of editing are used experimentally to enrich meaning in your chosen film. Make detailed reference to particular sequences in your answer.
You could also discuss Tarantino's use of flashforwards at certain points in the movie. Flashbacks are relatively common, frequently used in films to fill in backstory for the audience or to reveal information about a character's motivation. Flashforwards, moving from the present to the future and back to the present again, are much more unconventional and unusual. Tarantino uses a flashforward during 'The Bonnie Situation' when the characters discuss the possibility of Jimmie's wife returning and finding a dead body in the house and also during the heroin montage sequence when he cuts forward to Vincent driving whilst high, between extreme close ups of Vincent cooking up and injecting heroin. Both uses are incredibly stylistic and again draw attention to the fact that the audience are watching a carefully constructed movie rather than a reflection of reality.
Typical questions related to editing can be found below. It is important that you attempt them, 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 film and pick appropriate scenes to analyse.
1. Explore how far editing contributes to the 'experimental' identity of your chosen film.
OR
2. 'Experimental film is often the result of an auteur challenging established conventions with fresh ideas.' Discuss this statement in relation to editing with reference to key sequences from your chosen film.
OR
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