Pulp Fiction, by director Quentin Tarantino, is a prime example of a film that utilizes a multiple narrative structure. The film has three narrative stories that are signaled by inserted captions, and told in "episodes" that are shown non-chronologically. Specifically, the three narratives are called "Vincent Vega and Marsellus Wallace's Wife," a story of a man watching over his boss's wife and cannot touch her, "The Gold Watch," the story

On the contrary, Jules initially seems far colder and less redeemable than Vincent. The best example of this is when Jules recites a verse from the Bible, "The path of the righteous man is beset on all sides by the inequities 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

Violence in Pulp Fiction When the movie Bonnie and Clyde opened in 1967, Newsweek reviewer Joseph Morgenstern slammed the move as a "squalid shoot-em-up for the moron trade." (Goldstein) But a week later retracted his previous bad review and praised the movie. It was the violence that originally shocked the movie reviewer, but within a week, the shock of the rampant violence had worn off. Once this had happened, Mr.

One can actually feel a sentiment of nostalgia as he or she goes through Tarantino's movies, since his films appear to be done in accordance with some of the earliest movies in the history of film-making, the only difference being that the director has chosen to leave his instantly recognizable print on these motion pictures. Tarantino's motion pictures send a mixed message to the public, but even with that, most people

After all, when Marcellus is raped, the audience has witnessed the murder of two college students by Marcellus' hit men, and knows that Marcellus had a former ally thrown off of a roof for an unknown reason. In addition, it is because of Marcellus' orders that Vincent, whom the audience has grown to like, is killed at Butch's house. Marcellus is clearly not a good man, and yet, nothing

Every aspect of sociology is somehow affected by sexual politics and this can be seen in every postmodern representation of sexuality. Media is particularly dependant on sexual politics as a thematic representation and as a guiding force for human emotion. This is particularly true with regard to dramatic representations in film. The two films discussed above can be seen as examples of this thesis and illuminate both postmodernism and