Component 2d: Experimental Film 1960-2000 (Narrative)

Explore how far your chosen film or films are experimental in challenging conventional approaches to narrative.

Sample Assessment Materials, 2021

Plan:

Introduction

Establish the conventions of narrative (three act structure, chronology, linearity) and introduce the theorists (Propp, Todorov etc). Contextualise the work of Tarantino (Reservoir Dogs – a low budget crime thriller set in one location etc). Pulp Fiction is an experimental and postmodernist film, considered by many to be his magnum opus. It subverts the tropes of conventional narrative structure to provide a unique and refreshing experience.

Body

Narrative structure: Takes elements from linear, circular, and episodic narrative structures to tell three interconnected stories in a vastly nonlinear fashion. Three act structure present in each chapter.

Dialogue – seemingly trivial monologues, pop culture references. Flowing rhythm facilitated by dialogue. Link to the film’s pacing.

Narrative viewpoint – fluidly shifts focus onto different characters and frames them as the protagonist at different points (Pumpkin and Honey Bunny in the prologue, Jules and Vincent during the epilogue. Shifts to Mia during overdose scene)

Narrative devices: title cards, chaptering, audience positioning (enjoying being in the company of immoral characters, characterises initially archetypal and cliched characters. Zed and Maynard framed as antagonists)

Briefly references theories and theorists throughout.

Conclusion

In conclusion, Tarantino challenges the typical approaches to narrative in a wide variety of ways throughout Pulp Fiction. Taking elements of the three types of narrative structure, Tarantino presents three distinct chapters to us in a nonlinear fashion. This, alongside other experimental narrative techniques such as narrative viewpoint, audience positioning, and ellipsis, the film is a wholly unique viewing experience, providing a refreshing pastiche of pulpy crime stories, ultimately garnering a revered status among all of cinema.

Essay plan

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Essay – Version 1

A vital keystone of filmmaking is the overarching concept of narrative – the general flow of story information constructed by the plot. The vast majority of films typically conform to an array of preconceived narrative conventions, including: a rigid three act structure, a chronological plot, as well as the use of narrative techniques such as prolepsis, analepsis, and ellipsis. Many literary theorists, such as Vladimir Propp (who theorised the seven types of character) and Tzvetan Todorov (who formulated the Equilibrium Theory) also support these ideas, fervently stating that a narrative should be constructed in a particular way. Pulp Fiction (Quentin Tarantino, 1994) was released as the follow-up to Reservoir Dogs, a low-budget crime thriller that plays with the conventions of a typical narrative. Tarantino’s second film is widely considered by many to be his magnum opus, being classified as both postmodernist and experimental in nature, particularly in a narrative sense. Throughout the film, Tarantino subverts the traditional conventions of narrative created by the aforementioned theorists, by utilising the pre-established narrative techniques in a variety of unorthodox ways, ultimately creating a refreshing and unique experience.

One way in which Tarantino challenges the conventions of narrative is within the structure of the film. The events that occur throughout the film are a pastiche of pulpy stories of the crime genre. Tarantino immediately informs us of this through the use of a title card, which displays the two definitions of “pulp”. The first meaning is “a soft, moist, shapeless mass of matter”, perhaps hinting at the shapeless and nonlinear narrative structure of the film. The second definition, “a magazine or book containing lurid subject matter and being characteristically printed on rough, unfinished paper” on the other hand, is suggestive of the titular ‘pulp fiction’ that exudes throughout. The events and characters are both highly archetypal and cliched, and this idea is immediately suggested to the viewer through the utilisation of this unconventional title card.

The story of the film is relatively simple, with the film containing four episodic chapters with interconnected characters and events. On the other hand, the plot of the film is constructed in a highly nonlinear and convoluted manner. Although each chapter itself has a linear structure, the order in which it is shown to the viewer is non-chronological. This fragmentation of the plot creates an underlying sense of anticipation, with the viewer awaiting the repercussions of the non-chronological events due to the fact that they witness the events out of order. The narrative structure of the film could also be classed as circular, due to the film being bookended by the diner robbery sequence. Through this, Tarantino has taken elements from all three types of narrative (linear, circular, and episodic) in order to create a wholly unique and experimental narrative structure.

Each chapter of the film is signalled by an intertitle, and also loosely follows the aforementioned three act structure. For example, during The Gold Watch chapter, Act 1 displays Butch being paid by Marsellus to throw his next fight, Act 2 begins with the sequence in which Butch returns to his apartment, finally concluding with Act 3 in which Butch saves Marsellus and returns to Fabienne. By only displaying fragmented acts of the multiple storylines in a jumbled succession, Tarantino subverts the viewer’s preconceived expectations of what a typical narrative structure entails, ultimately forging a unique and satisfying viewing experience in the process.

Another way in which Tarantino challenges the conventions of a typical narrative is through his use of dialogue and pacing, facilitating audience positioning in different ways throughout Pulp Fiction. The dialogue throughout the film is densely packed, containing lots more than the average film. The characters engage in seemingly trivial monologues, concerning frivolous topics such as burgers, TV pilots, and foot massages. The dialogue is also with peppered with pop culture references to branded items such as the Big Mac, bands like Kool and the Gang, and TV shows such as Green Acres. The dialogue is entertaining and enjoyable to listen to, despite the fact that it does not drive the plot forward in any way. Through this, each of the characters that initially appear to be one-noted and archetypal are thus humanised and are presented in a more charismatic light.

The viewer is encouraged to enjoy being in the company of Vincent and Jules, who in actuality, are two highly repugnant gangsters who kill people for money. Through the use of dialogue, Tarantino presents the pair as a witty and charismatic duo. The viewer is prompted to sympathise with an array of despicable characters who we initially wouldn’t. Conversely, characters such as Zed and Maynard are positioned as antagonistic forces during Butch’s story, despite perhaps being no worse than the protagonists that we root for.

Another unconventional narrative technique employed by Tarantino also involves fluidly shifting focus onto specific characters at specific times, briefly framing them as the ‘protagonist’, if only for a moment. For example, we subconsciously root for Pumpkin and Honey Bunny during the prologue, as they are the only characters we are aware of at the very start of the film. Conversely, the viewer is encouraged to support Jules and Vincent during the epilogue, as the couple are now subtly framed as the antagonists of the scene. It could be argued that Claude Levi-Strauss’ theory of binary opposition is now present within the reprise of the scene, creating a sense of suspense and tension. The focus often shifts seamlessly without the viewer noticing, an example being when the shift focuses from Vincent onto Mia when they return to the apartment, initiating the sequence in which she overdoses on heroin. This technique of narrative viewpoint also creates for some highly shocking and subversive moments, including Vincent’s sudden death at the hands of Butch. At this point, the viewer is so engrossed within Butch’s chapter in the film, that the idea of Vincent being behind the bathroom door doesn’t even cross the mind of the viewer – making his untimely death all the more unexpected.

In conclusion, Tarantino challenges the typical approaches to narrative in a wide variety of ways throughout Pulp Fiction. Taking elements from all three types of narrative, Tarantino presents three distinct chapters to us in a nonlinear fashion. This, alongside other aforementioned experimental narrative techniques such as narrative viewpoint, audience positioning, and pacing, the film’s narrative offers a truly unique viewing experience. Tarantino provides a refreshing pastiche of pulpy crime stories, ultimately garnering Pulp Fiction’s revered status among all of cinema.