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Amazon Rapids Fun stories for kids on the go. Amazon Restaurants Food delivery from local restaurants. ComiXology Thousands of Digital Comics. It has been described as a "major cultural event", an "international phenomenon" that influenced television, music, literature, and advertising. Several scenes and images from the film achieved iconic status; in , Entertainment Weekly declared, "You'd be hard-pressed, by now, to name a moment from Quentin Tarantino's film that isn't iconic. In , BBC News reported that "London transport workers have painted over an iconic mural by 'guerrilla artist' Banksy Jackson and John Travolta clutching bananas instead of guns.
One of the more notable homages to Jules "Biblical" quote was one Jackson himself played a part in, near the end of 's Captain America: The Winter Soldier , Jackson's character Col. Nick Fury , presumed dead, visits his own gravestone, on which, below Fury's name is inscribed "The path of the righteous man Pulp Fiction now appears in several critical assessments of all-time great films.
In , Entertainment Weekly named it the best film of the past quarter-century. A Empire poll combining the opinions of readers, movie industry professionals, and critics named Pulp Fiction the ninth-best film of all time. Tarantino has stated that he originally planned "to do a Black Mask movie", referring to the magazine largely responsible for popularizing hardboiled detective fiction.
Both dealt heavily in the realm of improbable coincidences and cruel cosmic jokes, a realm that Pulp Fiction makes its own. He suggests that Leonard's "rich dialogue" is reflected in Tarantino's "popular-culture-strewn jive"; he also points to the acute, extremely dark sense of humor Leonard applies to the realm of violence as a source of inspiration. Robert Kolker sees the "flourishes, the apparent witty banality of the dialogue, the goofy fracturing of temporality [as] a patina over a pastiche. Mean Streets [; directed by Martin Scorsese , who loved Pulp Fiction and the way the film was told.
The movie's host of pop culture allusions, ranging from the famous image of Marilyn Monroe 's skirt flying up over a subway grating to Jules addressing a soon-to-be victim as " Flock of Seagulls " because of his haircut,  have led many critics to discuss it within the framework of postmodernism. Describing the film in as Tarantino's "postmodern masterpiece He characterizes its convoluted narrative technique as "postmodern tricksiness". She proposes that it "can be seen as effecting her resurrection from the dead, simultaneously recalling and undermining the Gothic convention of the vampire's stake.
On this model, the referencing of previous aesthetic forms and styles moves beyond Conard asks, "[W]hat is the film about? Pulp Fiction unmasks the macho myth by making it laughable and deheroicizes the power trip glorified by standard Hollywood violence. There is no nudity and no violence directed against women Where Stone sees a celebration, Kolker finds a vacuum: That's why Pulp Fiction was so popular. Not because all audiences got all or any of its references to Scorsese and Kubrick, but because the narrative and spatial structure of the film never threatened to go beyond themselves into signification.
Giroux argues that Tarantino "empties violence of any critical social consequences, offering viewers only the immediacy of shock, humor, and irony-without-insight as elements of mediation. None of these elements gets beyond the seduction of voyeuristic gazing Regarding the violence and nihilism in the film, Pamela Demory has suggested that Pulp Fiction should be seen in light of the short stories of Flannery O'Connor ,  which likewise feature "religious elements, banality, and violence with grotesque humor.
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Pulp Fiction is full of homages to other movies. According to the filmmaker;. Everybody thinks that I wrote this scene just to have John Travolta dancing. But the scene existed before John Travolta was cast. But once he was cast, it was like, "Great. We get to see John dance. My favorite musical sequences have always been in Godard, because they just come out of nowhere. It's so infectious, so friendly. And the fact that it's not a musical, but he's stopping the movie to have a musical sequence, makes it all the more sweet. Jerome Charyn argues that, beyond "all the better", Travolta's presence is essential to the power of the scene, and of the film:.
Travolta's entire career becomes " backstory ", the myth of a movie star who has fallen out of favor, but still resides in our memory as the king of disco. We keep waiting for him to shed his paunch, put on a white polyester suit, and enter the Odyssey club in Bay Ridge, Brooklyn, where he will dance for us and never, never stop.
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Daniel Day-Lewis couldn't have woken such a powerful longing in us. He isn't part of America's own mad cosmology Tony Manero [is] an angel sitting on Vince's shoulder Estella Tincknell notes that while the "diner setting seems to be a simulacrum of a 'fifties' restaurant The 'past' thus becomes a more general 'pastness' in which the stylistic signifiers of various decades are loaded in to a single moment.
The pivotal moment in which Marsellus crosses the street in front of Butch's car and notices him evokes the scene in which Marion Crane's boss sees her under similar circumstances in Psycho When Butch decides to rescue Marsellus, in Glyn White's words, "he finds a trove of items with film-hero resonances". At the conclusion of the scene, a portentous line of Marsellus' echoes one from the crime drama Charley Varrick , directed by another of Tarantino's heroes, Don Siegel ; the name of the character who speaks it there is Maynard.
That's definitely the one to beat in that particular category! Neil Fulwood focuses on Butch's weapon selection, writing, "Here, Tarantino's love of movies is at its most open and nonjudgemental, tipping a nod to the noble and the notorious, as well as sending up his own reputation as an enfant terrible of movie violence.
Moreover, the scene makes a sly comment about the readiness of cinema to seize upon whatever is to hand for its moments of mayhem and murder. The traditional Japanese sword, in contrasts, represents a culture with a well-defined moral code and thus connects Butch with a more meaningful approach to life. Robert Miklitsch argues that "Tarantino's telephilia" may be more central to the guiding sensibility of Pulp Fiction than the filmmaker's love for rock 'n' roll and even cinema:.
Talking about his generation, one that came of age in the '70s, Tarantino has commented that the "number one thing we all shared wasn't music, that was a Sixties thing. Our culture was television. Sharon Willis focuses on the way a television show Clutch Cargo marks the beginning of, and plays on through, the scene between young Butch and his father's comrade-in-arms.
The Vietnam War veteran is played by Christopher Walken, whose presence in the role evokes his performance as a traumatized G. Willis writes that "when Captain Koons enters the living room, we see Walken in his function as an image retrieved from a repertoire of s television and movie versions of ruined masculinity in search of rehabilitation The combination of the mysterious suitcase lock is , the " Number of the Beast ". Originally, the case was to contain diamonds, but this was seen as too mundane.
For filming purposes, it contained a hidden orange light bulb that produced an otherworldly glow. The interview resumes with Rodriguez discussing how radically the "knowledge" of the briefcase's contents alters one's understanding of the movie. Despite Tarantino's statements, many solutions to what one scholar calls this "unexplained postmodern puzzle" have been proposed. That movie, whose protagonist Tarantino has cited as a source for Butch, features a glowing briefcase housing an atomic explosive.
Analyzing the notion, Roger Ebert dismissed it as "nothing more than a widely distributed urban legend given false credibility by the mystique of the Net". Jules ritually recites what he describes as a biblical passage, Ezekiel The first version of the passage is as follows:. The path of the righteous man is beset on all sides by the iniquities of the selfish and the tyranny of evil men. Blessed is he who in the name of charity and goodwill shepherds the weak through the valley of darkness, for he is truly his brother's keeper and the finder of lost children.
And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my vengeance upon thee. The second version, from the diner scene, is identical except for the final line: While the final two sentences of Jules' speech are similar to the actual cited passage, the first two are fabricated from various biblical phrases.
And I will execute great vengeance upon them with furious rebukes; and they shall know that I am the LORD, when I shall lay my vengeance upon them. Tarantino's primary inspiration for the speech was the work of Japanese martial arts star Sonny Chiba.
Its text and its identification as Ezekiel The path of the righteous man and defender is beset on all sides by the iniquity of the selfish and the tyranny of evil men. Blessed is he, who in the name of charity and good will, shepherds the weak through the valley of darkness, for he is truly his brother's keeper, and the father of lost children. And I will execute great vengeance upon them with furious anger, who poison and destroy my brothers; and they shall know that I am Chiba the Bodyguard when I shall lay my vengeance upon them!
In the s television series Kage no Gundan Shadow Warriors , Chiba's character would lecture the villain-of-the-week about how the world must be rid of evil before killing him. Two critics who have analyzed the role of the speech find different ties between Jules' transformation and the issue of postmodernity. Adele Reinhartz writes that the "depth of Jules's transformation" is indicated by the difference in his two deliveries of the passage: It may make you feel good, but it certainly doesn't leave you any wiser. Much of Pulp Fiction ' s action revolves around characters who are either in the bathroom or need to use the toilet.
To a lesser extent, Tarantino's other films also feature this narrative element.
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Butch and Fabienne play an extended scene in their motel bathroom, he in the shower, she brushing her teeth; the next morning, but just a few seconds later in screen time, she is again brushing her teeth. After Marvin's absurd death, Vincent and Jules wash up in Jimmie's bathroom, where they get into a contretemps over a bloody hand towel. As described by Peter and Will Brooker, "In three significant moments Vincent retires to the bathroom [and] returns to an utterly changed world where death is threatened.
In the Brookers' analysis, "Through Vince She links this fact with the traditional derisive view of women as "the archetypal consumers of pulp":. Locating popular fiction in the bathroom, Tarantino reinforces its association with shit, already suggested by the dictionary meanings of "pulp" that preface the movie: Perched on the toilet with his book, Vincent is feminized by sitting instead of standing as well as by his trashy tastes; preoccupied by the anal, he is implicitly infantilized and homosexualized; and the seemingly inevitable result is being pulverized by Butch with a Czech M61 submachine gun.
That this fate has to do with Vincent's reading habits is strongly suggested by a slow tilt from the book on the floor directly up to the corpse spilled into the tub. Willis reads Pulp Fiction in almost precisely the opposite direction, finding "its overarching project as a drive to turn shit into gold. This is one way of describing the project of redeeming and recycling popular culture, especially the popular culture of one's childhood, as is Tarantino's wont as well as his stated aim.
Pulp Fiction won eight awards from a total of twenty-six nominations. American Film Institute Lists.
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From Wikipedia, the free encyclopedia. This article is about the film. For other uses, see Pulp fiction. Quentin Tarantino Roger Avary. John Travolta Samuel L. A Band Apart Jersey Films. Music from the Motion Picture Pulp Fiction. Vincent's demeanor reinforces the allusion to the scene in Kiss Me Deadly in which Lily Carver, a. Gabrielle Gaby Rodgers , gazes into the glowing case.
Conclusion of the "Ezekiel Film in the United States portal s portal. British Board of Film Classification. Retrieved November 11, Retrieved May 13, Writers Guild of America, West. Archived from the original on March 6, Retrieved November 29, Retrieved December 18, Highlights of Popular Cinema in the '90s". Archived from the original on Note again that all the main actors were paid identical weekly salaries. It appears that these figures cited for Travolta do not include his participation, if any, in the film's profits.
Archived from the original on October 23, Blackmore's contribution is major and enduring. Cartographic Writing in Early Modern France. History , Cultural Criticism. Shipwreck, death, and survival; terror, hunger, and salvation—these are the experiences of the passengers onboard merchant Portuguese ships sailing the high seas in the sixteenth and seventeenth centuries.
And this is the stuff of the stories committed to print by survivors upon their return to the homeland. In this book we see how the dramatic, compelling, and often gory accounts of shipwreck, depicting a world out of control, challenge state-sponsored versions of events in the prevailing historiographic culture.
Written during the heyday of Iberian maritime expansion and colonialism, the shipwreck narrative builds an alternative historical record to the vision and reality of empire elaborated by the official chroniclers of the realm. Manifest Perdition presents both theoretical considerations this genre and close readings of several texts, readings that disclose a poetics of the shipwreck text, of how survivors characteristically yet multifariously narrated their world.
The book engages issues of literary theory, historiography, and colonialism to portray the Portuguese shipwreck narrative for the first time as both a product of and a resistance to the prolific culture of sixteenth- and seventeenth-century expansionist history. Josiah Blackmore is associate professor of Portuguese at the University of Toronto.
He is the coeditor with Gregory S. Hutcheson of Queer Iberia: In this sophisticated and well-written book, Blackmore illustrates that beneath the surface of these shipwreck narratives lie an unexpected counterdiscourse to the European colonial enterprise.