Quentin Tarantino has proven time and time again to be one of the most confusing directors to understand when attempting to unravel the personal ideologies in his films. Each of his films deals with race, sexuality, and gender to some extent, and it is often difficult to know whether or not Tarantino is making a commentary on these things or if he truly believes much of the problematic discourse found in his films. Kill Bill Vol. 1 and 2 are a testament to this understanding of Tarantino’s films, as they appear to be extremely feminist films at surface level yet, upon deeper inspection, have some very problematic qualities. Looking at Kill Bill Vol.’s 1 and 2 through both a feminist and anti feminist lens can allow the audience to better …show more content…
1 gets right down to business with Beatrix Kiddo’s extremely violent assault, the audience is forced to feel sympathetic towards the female protagonist right off the bat. Combine that with the added knowledge of her sexual assault by hospital orderlies and alleged miscarriage and Beatrix Kiddo becomes the ultimate tragic hero. Her desire for revenge is very understandable, and many believe that her vengeful journey to eradicate those responsible for her misery makes her a strong feminist icon. Be that as it may, would the audience feel the same way if the film were shown in chronological order? If the film were shown without a nonlinear narrative, it is very likely that the audience would view Beatrix Kiddo as a ruthless assassin who gets bit in the ass by karma. Thus, seeing a trampled woman on a vengeful odyssey begs the viewer to root for the underdog. However, it is important to note a problematic trope Tarantino utilized when setting up this narrative: only after a woman has been cast down by a man can she rise up and destroy him. Just as O-Ren Ishii destroys Boss Tanaka for slanderously calling her a “Chinese Jap-American,” and Elle slays Pai Mei for plucking out her eye, the understanding of women needing to assert their power after being snubbed by a man is …show more content…
After being put in a coma by Bill, raped by Buck and countless others, and having her child taken away from her, Beatrix’s desire to take what she wants and give nothing in return echoes the way men have been known to take without reimbursement. For example, Beatrix approaches Hattori Hanzo in order to obtain a samurai sword. She offers nothing in return, save the knowledge that Hanzo himself was Bill’s mentor. Similarly, Beatrix’s entreats Esteban Vihaio for knowledge of Bill’s whereabouts without offering any sort of payment. Beatrix uses the predominately male gendered notion that one can take and reclaim without offering anything in return. By doing this Beatrix is asserting her power in a male dominated world and attempting to beat the men at their own
Many people are intrigued by Kurt Vonnegut’s borderline sci-fi, anti-war book Slaughterhouse-Five, and how it has survived throughout the ages. Kurt Vonnegut is an innovative best selling, award winning author of many book such as; Cat’s Cradle, Breakfast of Champions, Slaughterhouse-Five etc.The book Slaughterhouse-Five has no beginning, middle or end past the first chapter so it is very common for Billy Pilgrim to “time bounce” from his childhood, to the war, and to his elderly years and not all in that order. Billy Pilgrim is a man that did not have the greatest luck when it came to being a soldier.For instance “He was a scrawny, untrained private with scraps for a uniform such a creature could walk through war, oblivious yet unscathed, while so many others with more appropriate attire and provisions perish”(Sparknotes Editor). Mr. Vonnegut lived through some of the events portrayed in the book Slaughterhouse-Five such as the American air raid of Dresden, Germany. On February 13-14, 1945 nearly 135,000 Germans were killed from the tragic firebombing of the city of Dresden,Germany. In the book Billy claims to have lived this tragic event several times over. Mr. Vonnegut was a soldier of the 423rd Infantry Regiment, and 106 Infantry Division and earned a Purple Heart for his service after being injured at the Battle of The Bulge (Vonnegut.com). Many soldier in our day and age that fought in WWII and after have suffered from PTSD. An estimated 7.8 percent of Americans will experience PTSD at some point in their lives, with women (10.4%) twice as likely as men (5%) to develop PTSD. About 3.6 percent of U.S. adults aged 18 to 54 (5.2 mil...
The auteur theory is a view on filmmaking that consists of three equally important premises: technical competence, interior meaning, and personal signature of the director. Auteur is a French word for author. The auteur theory was developed by Andrew Sarris, a well-known American film critic. Technical competence of the Auteur deals with how the director films the movie in their own style. Personal signature includes recurring themes that are present within the director’s line of work with characteristics of style, which serve as a signature. The third and ultimate premise of the Auteur theory is the interior meaning which is basically the main theme behind the film.
The film Blade Runner (1982) directed by Ridley Scott depicts women in a negative connotation. Blade Runner is considered a popular science fiction film and is seen to have shaped the genre, however, the film displays women as sex symbols and secondary characters, who are unimportant to the storyline. The film is centered around strong male leads who use their authority and power to abuse, belittle and sexualize women. The film’s misogynistic point of view gives the impression to the audience that this treatment of women is acceptable, which is offensive and completely inaccurate.
From the early history, women were inferior to and dominated by men. However, the problem of female sexual degradation of the male society is still existent even in the 21st century’s world which is characterized by the social equality and democracy. In a self-contained Issue, “Callioppe” (The Sandman, #17), Neil Gaiman criticizes the male driven economy which engages in female social and sexual abjection through depiction of rape. Utilizing the narrative and visual techniques, Gaiman draws the reader to the problem of sexual violence toward women.
The Bad and The Beautiful (1952) and State and Main (2000) are films within films that unmask Hollywood Cinema as a dream factory and expose the grotesque, veneer hidden by the luxury of stars. The Bad and the Beautiful, directed by Vincent Minnelli, is a black and white film narrated in flashback form. The films theatrical nature requires more close-ups than wide-screen shots to capture the character’s psychological turmoil. For example, Fred and Jonathan’s car ride is captured in a close-up to signify their friendship; however their relationship deteriorates after Jonathan’s deceit. While the camera zooms out, Fred stands alone motionless. Here, Fred is captured from a distance at eye-level and he becomes ostracized by the film industry and
The only real way to truly understand a story is to understand all aspects of a story and their meanings. The same goes for movies, as they are all just stories being acted out. In Thomas Foster's book, “How to Read Literature Like a Professor”, Foster explains in detail the numerous ingredients of a story. He discusses almost everything that can be found in any given piece of literature. The devices discussed in Foster's book can be found in most movies as well, including in Quentin Tarantino’s cult classic, “Pulp Fiction”. This movie is a complicated tale that follows numerous characters involved in intertwining stories. Tarantino utilizes many devices to make “Pulp Fiction” into an excellent film. In this essay, I will demonstrate how several literary devices described in Foster's book are put to use in Tarantino’s film, “Pulp Fiction”, including quests, archetypes, food, and violence.
Film scholar and gender theorist Linda Williams begins her article “Film Bodies: Genre, Gender and Excess,” with an anecdote about a dispute between herself and her son, regarding what is considered “gross,” (727) in films. It is this anecdote that invites her readers to understand the motivations and implications of films that fall under the category of “body” genre, namely, horror films, melodramas, (henceforth referred to as “weepies”) and pornography. Williams explains that, in regards to excess, the constant attempts at “determining where to draw the line,” (727) has inspired her and other theorists alike to question the inspirations, motivations, and implications of these “body genre” films. After her own research and consideration, Williams explains that she believes there is “value in thinking about the form, function, and system of seemingly gratuitous excesses in these three genres,” (728) and she will attempt to prove that these films are excessive on purpose, in order to inspire a collective physical effect on the audience that cannot be experienced when watching other genres.
These movies allowed female characters to embody all the contradictions that could make them a woman. They were portrayed as the “femme fatale” and also “mother,” the “seductress” and at the same time the “saint,” (Newsom, 2011). Female characters were multi-faceted during this time and had much more complexity and interesting qualities than in the movies we watch today. Today, only 16% of protagonists in movies are female, and the portrayal of these women is one of sexualization and dependence rather than complexity (Newsom, 2011).
Led by Laura Mulvey, feminist film critics have discussed the difficulty presented to female spectators by the controlling male gaze and narrative generally found in mainstream film, creating for female spectators a position that forces them into limited choices: "bisexual" identification with active male characters; identification with the passive, often victimized, female characters; or on occasion, identification with a "masculinized" active female character, who is generally punished for her unhealthy behavior. Before discussing recent improvements, it is important to note that a group of Classic Hollywood films regularly offered female spectators positive, female characters who were active in controlling narrative, gazing and desiring: the screwball comedy.
Jackass is a group of people that specializes in very violent, dangerous, and crazy stunts that have been recorded and made into movies and a television series for people’s enjoyment. Their latest piece is a movie called Bad Grandpa which is another spin off of ridiculous stunts that demonstrate violence. The main character Johnny Knoxville, who plays 86-year-old Irving Zisman, is an old man whose grandson follows him around the country performing dangerous stunts just to make jokes and to live on the edge. Although it may seem very comical and for peoples enjoyment, the series of Jackass and especially the newest piece of Bad Grandpa has addressed the serious topic of sexism. Sexism is a system of advantages that serves to privilege men, subordinate women, denigrate woman-identified values and practices, enforce male dominance and control, and reinforce norms of masculinity that are dehumanizing and damaging to men (Botkin 320). It is important to acknowledge the fact that the movie Bad Grandpa is promoting sexism through the ways women are being portrayed in certain scenes of the movie. This is supported by the theoretical framework of Hackman’s four characteristics of gender roles.
The history of the slave era has been consistent throughout the past years whether it is told through textbooks or documentaries. Slavery through history is remembered as an era in which thousands of individuals were robbed from their freedom and treated with mass cruelty. History generally goes into depth on what slavery was and why it lasted for over two centuries, and the reason being is that African Americans were viewed as extremely profitable property, not as actual living human beings, “the sense of the humanity of these people were simply suppressed for the sake of gold” (“Africans in America” 1998). Another point to mention is the fact that history focuses on the overall picture of slavery and what it was, not necessarily what impact it had on African Americans and the individual hardships they endured.
By dissecting the film, the director, Jennie Livingston's methodology and the audience's perceived response I believe we can easily ignore a different and more positive way of understanding the film despite the many flaws easy for feminist minds to criticize. This is in no way saying that these critiques are not valid, or that it is not beneficial to look at works of any form through the many and various feminist lenses.
As time goes on, history has a way of getting distorted from its most truthful form. Time causes people to drift away from accuracy and become more interested in what they want to remember. Hollywood has a reputation of creating films that cater more to the average viewer, rather than the history buff. Inglorious Basterds, by Quentin Taratino, take very liberal liberty with a history story, and creates a story that will sell to the crowd. This may seem dubious, but it is often not such a bad thing. Hollywood can take a story that may have one connotation, may it be serious or dreary, and turn it into something that evokes different emotions, will still addressing historical issues or topics. Taratino chooses to film a movie of this type because of the way he can portray a very serious topic in way that no one has before. He picks the topic of World War II and the Nazi’s, but does not take the generic portrayal of it. Many previous movies of this subject have been released either show heroic American that battle insurmountable odds, or forsaken Jews that fight threw the worst. While it may seem dark to make a movie that takes a serious subject so lightly, it is part of the process of history. As it becomes more and more distant in time, there is less and less truth and seriousness put into it. It is seen in many other Hollywood movies, such as The Patriot (2000), 300 (2007), Braveheart (1995), and Django Unchained (2012). The interesting thing in many of the movies like these, is the enemy is often portrayed in an extremely negative, almost so extreme, they could be compared to the Nazis. Hollywood uses that Nazis as the level setter for enemies, it does not get worse than them. It is interesting to see how Taratino portrays the ...
Ten years before Tarantino made Pulp Fiction, the academic and critic Frederic Jameson identified some of the key features of postmodernism, and debated whether these were a true departure from modernism, or just a continuation of the same rebellious themes. His paper on postmodernism tends towards the latter view, but at the same time prophetically pinpointed the essential departures that postmodernism has made from what has gone before. Tarantino’s film does not continue the debate in an academic way, but instead presents a virtuoso visual performance of the ideas that Jameson could only dimly perceive. These ideas include pastiche, a crisis in historicity and a blurring of the distinction between high culture and low culture.
Feminism is a movement that supports women equality within society. In relation to film, feminism is what pushes the equal representation of females in mainstream films. Laura Mulvey is a feminist theorist that is famous for touching on this particular issue of how men and women are represented in movies. Through her studies, she discovered that many films were portraying men and women very differently from reality. She came up with a theory that best described why there is such as huge misrepresentation of the social status quos of male and female characters. She believed that mainstream film is used to maintain the status quo and prevent the realization of gender equality. This is why films are continuously following the old tradition that males are dominant and females are submissive. This is the ideology that is always present when we watch a movie. This is evident in the films from the past but also currently. It is as if the film industry is still catering to the male viewers of each generation in the same way. Laura Mulvey points out that women are constantly being seen as sexual objects, whether it is the outfits they wear or do not wear or the way they behave, or secondary characters with no symbolic cause. She states that, “in traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote it-be-looked-at-ness.”(Mulvey pg. 715). Thus, women are nevertheless displayed as nothing more than passive objects for the viewing pleasure of the audience. Mulvey also points out through her research that in every mainstream movie, there is ...