Pulp Fiction and Sound
Questions in the exam could focus specifically on the ways in which aspects of sound (music, sound effects and dialogue) create meaning for audiences BUT a number of other types of questions may require you to make reference to sound - even if the term is not in the title. Answers to questions on representation or aesthetics may incorporate discussion of sound alongside aspects of cinematography, elements of mise-en-scene and even editing and you should mention elements of sound in essays about Tarantino as an auteur and any essays about the film's institutional context (it is a dialogue-driven film, which is often a hallmark of low-budget, Independent cinema).
To refresh your memory about the key terms for sound, click on the links below.
Sound: Dialogue
Remember, you only have 30 minutes to write the essay so it is likely that you will be able to make three (or, at the most, four) points about sound in the time available. It is crucial that one of these points is about Tarantino's use of dialogue (which you can link to his auteur signature, postmodernism through his pop culture references and to the idea that this dialogue can be classed as experimental because it differs so clearly from the kind of expository dialogue found in mainstream Hollywood films). It is likely that the other points you make will be related to music (Tarantino's eclectic choice of existing tracks rather than an orchestral score, the way that he switches from non-diegetic to diegetic music and the way he uses his music contrapuntally).
Some of the songs that Tarantino uses, such as Let's Stay Together by Al Green and Son of a Preacher Man by Dusty Springfield, were established classics but many of the tracks were more obscure songs by well-known artists (Jungle Boogie by Kool and the Gang or You Never Can Tell by Chuck Berry, which Mia and Vincent dance to in Jack Rabbit Slims) or cult songs relatively unknown to mainstream audiences (Misirlou by Dick Dale). The use of these songs on the film's soundtrack (which had sold over two million copies by 1996) resurrected the careers of some of the artists, such as Kool and the Gang and popularised other artists (such as Urge Overkill who covered Neil Diamond's You'll be a Woman Soon) and even reinvigorated a genre of music (surf rock). Part of Tarantino's auteur signature is the eclectic soundtracks for his movies, which blend old and new music from a range of genres. He took a similar approach to the soundtrack for his first movie, Reservoir Dogs, and in subsequent movies such as Kill Bill Volume I and Once Upon a Time in Hollywood. Audiences now have very specific expectations regarding the music Tarantino will use in his films.
One of those expectations is that the music will often be contrapuntal, working against the images the audience see on screen. Conventionally, diegetic and, particularly, non-diegetic music works in tandem with the visuals, reinforcing the message clearly and hitting the expected tone in relation to both the action taking place and the genre of the film. Contrapuntal music, which seems to clash with events taking place on screen, is much more 'experimental', unsettling the audience by undermining their expectations. Contrapuntal music is a consistent element of style that audiences have come to associate with Tarantino's auteur signature. The use of music to act as a counterpoint to violence or the threat of violence can be seen in Tarantino's first movie Reservoir Dogs where the criminal Mr Blonde tortures a cop by slashing his face with a cutthroat razor before slicing his ear off, whilst moonwalking to an up-tempo, 'bubblegum pop classic' Stuck in the Middle with You by Steeler's Wheel (played diegetically on the radio). There are a number of similar examples of music being used as a counterpoint to the action in Pulp Fiction.
The use of the sultry love song, associated with love and romance, Let's Stay Together by Al Green, in the scene where Marcellus orders Butch to throw the fight, is perhaps the best example of contrapuntal music in Pulp Fiction. The scene is full of menace and potential violence and is made more uncomfortable and unsettling by being accompanied by such a romantic, soulful track.
As Vincent shoots up during the heroin montage scene Tarantino uses flashforwards of Vincent driving (against rear projection). The scene is uncomfortably glamorised with the use of Bullwinkle Part II by The Centurians, which gives the montage a cool chic that counters the seriousness of Vincent's drug use and the overdose that Mia experiences later in the film when she snorts heroin which she believes to be cocaine.
It is also often tricky for the audience to determine whether the music used in certain scenes in Pulp Fiction is diegetic (taking place within the story world and heard by both the characters and the audience) or non-diegetic (heard only by the audience and not the characters). At times, the audience believe that what they are hearing is non-diegetic but clear changes in volume in key moments in the scene lead the spectator to question the source of the music. One good example of this is during the rape scene with Marcellus and Butch. Once Zed has picked Marcellus as his first victim, he leads him to a room at the back of the basement before Maynard brings out the Gimp to keep watch on Butch while Zed and Maynard take turns raping Marcellus. As Maynard goes to enter the room Comanche by the Revels plays; an aggressive, up-tempo surf rock track that hints at the violence coming in the scene. The track seems to be played non-diegetically but as Maynard enters the room he closes the door (in slow motion) and the volume decreases and the music becomes muffled (suggesting that it is actually being played diegetically). This is confusing and disorientating for the audience especially as we have not witnessed either Zed or Maynard turn on a radio. What is more confusing is that when Butch initially goes upstairs to the pawn shop (having untied himself and escaped from the Gimp) the music becomes even quieter (seemingly confirming that it is diegetic) but the fact that the audience can hear Marcellus' groans as he is being assaulted would suggest that the music is in fact non-diegetic (how else would they be able to hear Marcellus over the music from so far away). As Butch makes the decision to go and save Marcellus, after choosing a samurai sword from various weapons, the music appears to get louder again as he walks back down the stairs towards the room (implying that the music is in fact diegetic). When Butch kills Maynard with the samurai sword the music stops; this seems to confirm that it must be non-diegetic (as neither Zed or Maynard appear to turn off a radio). Seemingly switching from diegetic to non-diegetic music (or vice versa) can certainly be classed as unusual and unsettling for the audience and this 'experimental' approach to the use of music happens frequently throughout the film.
Another good example can be found as the opening credits cut to Jules and Vincent in the car driving to the apartment to retrieve Marcellus' briefcase. During the credits we assume that we are hearing music played non-diegetically (Misirlou by Dick Dale). Halfway through the song (whilst the credits are still on screen) the audience hear what sounds like the turning of a radio dial before Jungle Boogie by Kool and the Gang plays. The enhanced sound effect of the re-tuning of the radio suggests that the music may in fact be diegetic. This seems to be reinforced when Tarantino cuts from the credits to Jules and Vincent's conversation about Amsterdam, the metric system and burgers in the car on the way to the apartment, where we can still hear the track, diegetically, on the radio as they talk. What confuses the audience further, however, is the fact that the volume of the diegetic version of the song is very low, so that the 'pop culture' dialogue can be heard clearly by the audience.
One further example of the audience being unsure about whether music is non-diegetic or diegetic is in the scene at Sally LeRoys (Marcellus' bar) where Marcellus orders Butch to throw the fight. Over the title card that precedes the scene the audience can hear Let's Stay Together by Al Green and perhaps infer that it is being played diegetically. As the scene plays out there is no indication that the music is not non-diegetic but after Marcellus has given Butch an envelope of money, Tarantino cuts to the barman opening the door of the bar to let Jules and Vincent into the establishment so that they can deliver Marcellus' briefcase. Very faintly, the track can be heard as the barman greets Jules and Vincent outside (suggesting that the song is, in fact, playing diegetically inside the bar). As the hitmen enter the bar the song returns to its original volume, reinforcing the notion that it is indeed diegetic.
One further point worth discussing in relation to sound and the 'experimental' nature of Pulp Fiction is dialogue. Any discussion of dialogue in relation to Pulp Fiction should primarily focus on the way that dialogue is a central component of Tarantino's auteur signature. Remember that Tarantino also wrote the script for the film and that his dialogue, full of intertextual pop culture references, is one of the hallmarks of postmodernism; an 'experimental' movement in film that subverts many of the conventions of both mainstream Hollywood and 'realist' cinema. Tarantino's characters talk in a way that is so far removed from the way characters speak in mainstream Hollywood films in particular, where dialogue frequently acts as exposition, filling in plot points for the audience rather than reflecting the ways that people actually talk. It may seem unusual to label this kind of dialogue as 'realistic' (particularly in the context of postmodernism, which seems to reject 'reality') but Tarantino's dialogue feels unusual and unexpected because it is more natural than the dialogue that audiences usually hear in movies. There are plenty of examples (discussed in the section on Pulp Fiction and Postmodernism) - just make sure that you give some to support the point you are making.
Typical questions related to sound 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 sound contributes to the 'experimental' identity of your chosen film.
3. Explore how aspects of sound are used experimentally to enrich meaning in your chosen film. Make detailed reference to particular sequences in your answer.
Remember, questions on sound will require you to discuss, in detail, certain scenes from the film - so make sure you have at least three that you can recall in detail. I would suggest you have detailed knowledge of the opening and closing scenes and one other key scene - and that you are able to make passing reference to a number of other moments in the film.
Remember, you only have 30 minutes to write the essay so it is likely that you will be able to make three (or, at the most, four) points about sound in the time available. It is crucial that one of these points is about Tarantino's use of dialogue (which you can link to his auteur signature, postmodernism through his pop culture references and to the idea that this dialogue can be classed as experimental because it differs so clearly from the kind of expository dialogue found in mainstream Hollywood films). It is likely that the other points you make will be related to music (Tarantino's eclectic choice of existing tracks rather than an orchestral score, the way that he switches from non-diegetic to diegetic music and the way he uses his music contrapuntally).
Music, and the meaning its use creates for the audience, is central in Pulp Fiction - and would be worthy of discussion in not only essays about sound but also in any questions about the film's aesthetic and Tarantino's auteur signature (remembering that Tarantino's tendency to use long takes means that songs can be played for their duration, or at least much longer, than the snippets of music heard in many conventional Hollywood movies). In many ways, the use of music by Tarantino can be considered to contribute to the 'experimental' feel of Pulp Fiction:
- the use of an eclectic mix of existing tracks rather than an orchestral score, many of which can be considered obscure or 'cult' and have subsequently become popular as a result of their use in the film
- the use of contrapuntal music
- music which switches from being non-diegetic to diegetic
Some of the songs that Tarantino uses, such as Let's Stay Together by Al Green and Son of a Preacher Man by Dusty Springfield, were established classics but many of the tracks were more obscure songs by well-known artists (Jungle Boogie by Kool and the Gang or You Never Can Tell by Chuck Berry, which Mia and Vincent dance to in Jack Rabbit Slims) or cult songs relatively unknown to mainstream audiences (Misirlou by Dick Dale). The use of these songs on the film's soundtrack (which had sold over two million copies by 1996) resurrected the careers of some of the artists, such as Kool and the Gang and popularised other artists (such as Urge Overkill who covered Neil Diamond's You'll be a Woman Soon) and even reinvigorated a genre of music (surf rock). Part of Tarantino's auteur signature is the eclectic soundtracks for his movies, which blend old and new music from a range of genres. He took a similar approach to the soundtrack for his first movie, Reservoir Dogs, and in subsequent movies such as Kill Bill Volume I and Once Upon a Time in Hollywood. Audiences now have very specific expectations regarding the music Tarantino will use in his films.
One of those expectations is that the music will often be contrapuntal, working against the images the audience see on screen. Conventionally, diegetic and, particularly, non-diegetic music works in tandem with the visuals, reinforcing the message clearly and hitting the expected tone in relation to both the action taking place and the genre of the film. Contrapuntal music, which seems to clash with events taking place on screen, is much more 'experimental', unsettling the audience by undermining their expectations. Contrapuntal music is a consistent element of style that audiences have come to associate with Tarantino's auteur signature. The use of music to act as a counterpoint to violence or the threat of violence can be seen in Tarantino's first movie Reservoir Dogs where the criminal Mr Blonde tortures a cop by slashing his face with a cutthroat razor before slicing his ear off, whilst moonwalking to an up-tempo, 'bubblegum pop classic' Stuck in the Middle with You by Steeler's Wheel (played diegetically on the radio). There are a number of similar examples of music being used as a counterpoint to the action in Pulp Fiction.
The use of the sultry love song, associated with love and romance, Let's Stay Together by Al Green, in the scene where Marcellus orders Butch to throw the fight, is perhaps the best example of contrapuntal music in Pulp Fiction. The scene is full of menace and potential violence and is made more uncomfortable and unsettling by being accompanied by such a romantic, soulful track.
As Vincent shoots up during the heroin montage scene Tarantino uses flashforwards of Vincent driving (against rear projection). The scene is uncomfortably glamorised with the use of Bullwinkle Part II by The Centurians, which gives the montage a cool chic that counters the seriousness of Vincent's drug use and the overdose that Mia experiences later in the film when she snorts heroin which she believes to be cocaine.
It is also often tricky for the audience to determine whether the music used in certain scenes in Pulp Fiction is diegetic (taking place within the story world and heard by both the characters and the audience) or non-diegetic (heard only by the audience and not the characters). At times, the audience believe that what they are hearing is non-diegetic but clear changes in volume in key moments in the scene lead the spectator to question the source of the music. One good example of this is during the rape scene with Marcellus and Butch. Once Zed has picked Marcellus as his first victim, he leads him to a room at the back of the basement before Maynard brings out the Gimp to keep watch on Butch while Zed and Maynard take turns raping Marcellus. As Maynard goes to enter the room Comanche by the Revels plays; an aggressive, up-tempo surf rock track that hints at the violence coming in the scene. The track seems to be played non-diegetically but as Maynard enters the room he closes the door (in slow motion) and the volume decreases and the music becomes muffled (suggesting that it is actually being played diegetically). This is confusing and disorientating for the audience especially as we have not witnessed either Zed or Maynard turn on a radio. What is more confusing is that when Butch initially goes upstairs to the pawn shop (having untied himself and escaped from the Gimp) the music becomes even quieter (seemingly confirming that it is diegetic) but the fact that the audience can hear Marcellus' groans as he is being assaulted would suggest that the music is in fact non-diegetic (how else would they be able to hear Marcellus over the music from so far away). As Butch makes the decision to go and save Marcellus, after choosing a samurai sword from various weapons, the music appears to get louder again as he walks back down the stairs towards the room (implying that the music is in fact diegetic). When Butch kills Maynard with the samurai sword the music stops; this seems to confirm that it must be non-diegetic (as neither Zed or Maynard appear to turn off a radio). Seemingly switching from diegetic to non-diegetic music (or vice versa) can certainly be classed as unusual and unsettling for the audience and this 'experimental' approach to the use of music happens frequently throughout the film.
Another good example can be found as the opening credits cut to Jules and Vincent in the car driving to the apartment to retrieve Marcellus' briefcase. During the credits we assume that we are hearing music played non-diegetically (Misirlou by Dick Dale). Halfway through the song (whilst the credits are still on screen) the audience hear what sounds like the turning of a radio dial before Jungle Boogie by Kool and the Gang plays. The enhanced sound effect of the re-tuning of the radio suggests that the music may in fact be diegetic. This seems to be reinforced when Tarantino cuts from the credits to Jules and Vincent's conversation about Amsterdam, the metric system and burgers in the car on the way to the apartment, where we can still hear the track, diegetically, on the radio as they talk. What confuses the audience further, however, is the fact that the volume of the diegetic version of the song is very low, so that the 'pop culture' dialogue can be heard clearly by the audience.
One further example of the audience being unsure about whether music is non-diegetic or diegetic is in the scene at Sally LeRoys (Marcellus' bar) where Marcellus orders Butch to throw the fight. Over the title card that precedes the scene the audience can hear Let's Stay Together by Al Green and perhaps infer that it is being played diegetically. As the scene plays out there is no indication that the music is not non-diegetic but after Marcellus has given Butch an envelope of money, Tarantino cuts to the barman opening the door of the bar to let Jules and Vincent into the establishment so that they can deliver Marcellus' briefcase. Very faintly, the track can be heard as the barman greets Jules and Vincent outside (suggesting that the song is, in fact, playing diegetically inside the bar). As the hitmen enter the bar the song returns to its original volume, reinforcing the notion that it is indeed diegetic.
One further point worth discussing in relation to sound and the 'experimental' nature of Pulp Fiction is dialogue. Any discussion of dialogue in relation to Pulp Fiction should primarily focus on the way that dialogue is a central component of Tarantino's auteur signature. Remember that Tarantino also wrote the script for the film and that his dialogue, full of intertextual pop culture references, is one of the hallmarks of postmodernism; an 'experimental' movement in film that subverts many of the conventions of both mainstream Hollywood and 'realist' cinema. Tarantino's characters talk in a way that is so far removed from the way characters speak in mainstream Hollywood films in particular, where dialogue frequently acts as exposition, filling in plot points for the audience rather than reflecting the ways that people actually talk. It may seem unusual to label this kind of dialogue as 'realistic' (particularly in the context of postmodernism, which seems to reject 'reality') but Tarantino's dialogue feels unusual and unexpected because it is more natural than the dialogue that audiences usually hear in movies. There are plenty of examples (discussed in the section on Pulp Fiction and Postmodernism) - just make sure that you give some to support the point you are making.
Typical questions related to sound 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 sound 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 sound with reference to key sequences from your chosen film.
OR
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