Opening Sequence Analysis - Pulp Fiction
- 1. Opening Sequence Analysis – Pulp Fiction The opening sequence commences with a still shot of a dictionary definition of the word ‘Pulp’, written in the long-established font of a dictionary. It is comprehensible here that the second definition is the one that Quentin Tarantino wants to implant into the audience using the Cultivation Theory, in order to keep it in mind throughout the film. By using this modus operandi, the audience can grasp more connotations from the film and link it back to the opening scene where it kickstarted the exhilaration. This makes the gangster genre much more alluring to individuals. This is a unique and matchless approach that Tarantino has included here, and the formality of this frame totally contradicts the traditional conventions and audience expectations. In my opinion, this is intentionally included in order to keep the audience guessing, as Tarantino’s works typically challenge the stereotypical ideas of a typical British gangster film. This is an example of where postmodernism is conformed and Tarantino has used a variety of the earlier styles and conventions of the gangster genre and has made it his own. This could possibly be embedded within the Uses and Gratification Theory in the education section, as the viewers can observe these modern techniques and identify the significance it has to the film as a whole. The scene then cuts into an establishing mid-shot that introduces the two main characters of the opening scene. The mise-en-scene is set in side a coffee shop, and this style of scenery connotes a sense of security where peace is expected. Furthermore, the director messes around with the typical characteristics of the genre here because this isn’t what you would expect in an American gangster
- 2. movie. Tarantino usually defies the natural conventions of the gangster genre by presenting his characters as average and informally dressed (in contrast to the expensive and classy black-suits). However, the male in this scene is laid back and looks completely stress-free, and his liberal use of swearing represents glimpses of him being a law-rebelling individual despite the choice of clothing and mise-en-scene. Stemming from this, it is only when you start listening to their hazardous conversation that you realise that they are no ordinary citizens, but criminals. Another element of the mise-en-scene which is significant here is the high-key lighting from the large windows behind them which may connote a blissful environment. Also, there is only diegetic sound being exposed and this concludes that there is no suspense being generated in this frame. Similarly to the previous frames, this frame isn’t following the familiar gangster genre conventions here either. The unchanged two characters are acting like a couple to each other, whilst talking about illegal operations such as robbery of banks. This ties in with the Levi-Strauss – Binary Oppositions as there are two conflicting elements to this scene (Good vs. Bad) and this contains significance as the audience ponder what is going to occur subsequently. As the male continues to explain his atypical intentions, the female becomes increasingly captivated by what he has to say. Furthermore, the lighting and sound are sustained throughout this part of the scene and it continues to advocate an affable and cooling atmosphere. At this stage, the audience is mirroring this bizarre concept of a gangster movie, and they continue to speculate whether anything of dramatic value will soon occur. Deep into the current conversation, the male disrupts the secure and calm atmosphere by administering the idea of robbing the cafe they are situated in (Todorov’s Equilibrium). This instigates the physical movement of the camera as it slowly pans around whilst zooming into the characters at the same time. This is to ultimately build some tension in this scene, and the female’s friendly approach to the situation has taken a fold; she is now ready and committed. As a result, we get to see a portrayal of stereotypical gangster behaviour and the audience is now led on to expect more things to happen due to the apparent tension and exhilaration.
- 3. At this point in the opening sequence, all the pre-notions of the female held by the audience are now dismissed as she shoots up from her sitting position to wildly wave a gun around in her hands. She then moves towards the camera and swiftly replaces the dominance which the male started off with. The low angle of the camera is significant in order to show the control that these two have in this current situation. This is indisputably unexpected from the audience, considering the male instructing the female to have ‘crowd control’ in this action-packed frame. The sequence then ends with a freeze-frame of the female pointing the gun and she has a threatening expression on her face. This is then the cue for the credits which begin to come into view at the bottom of the screen with the iconic font colour of orange; this colour is used plenty of times in Pulp Fiction. http://www.youtube.com/watch?v=Jomr9SAjcyw