3
Design...
B
-.
-
⑧a i IOf ANA7+70.994
↑ -
⑧S
V Al
⑪
&
-one scene analysis experimental
A
-> Uma Thurman, Samuel (Jackson narrative Tarantino
+
as an auteur.
-
H
~
↳
wi
↳ d John Travolta, Bruce Willis. The film is post modernist.
suces and vincent
postcredits
sound:I during the credits -- song changes, is loud and non-die-
record scratch sound effect
2 - -getic. Then fades in volume and becomes diegetic, is the song vince and Jules are listening
mise-en-scene: to on the radio. Tarantino using pre-existing sonas he lines. A heavy dialogue --
lengthy
* matching black suits - white shirt, slim black tie gangster conversation aboutnothing important. I'll big mac'thumour, comfy casualness -- establishes
uniform reference -
to his first film, Reservoir Dogs -
auteur. vincent and Julespartnership.
* brightb lue sky outside bold primary colours -- auteur.
* beige car -- quite ordinary -- nothing eye-catching a
or of pati- cinematography. I start
of c amera staus static
moment in
profile shot
ofVincent -
-
cular interest. audience are immediately aligned with him. A tightly framed close up (POV?) Snot-
editing: long takes, allows us to focus on dialogue reverse shot as they talk-partnership. Flow angle car trunk shot-Goodfellas homage.
the apartment
sound:* Jules' powerful tone of voice -- Tarantino avoids stereotypes by giving sules very
2 dialogue -
eloquent educated way ofspeaking -b'allow me to retort'
mise-en-scene:
* artificial golden glowing light
from briefcase, exaggeration cinematography
+
a longshot close ups on cules - power, dominance, controls the
creates mustery
- is a McGuffin importantb ut no outcome. scene. * Vincent in background of shots-y back-seat presence in the room.
* contrasti n costumes - Jules and Vincent
are more official po editing:a shot-reverse -
shot-builds tension.
* action of Jules shooting guy on sofa-r randomness.
Vincent does Heroin
sound: normal everyday conversation h is carry
about Lance -
seeing a different side of Vincent-notgangster
2 A mysterious instrumental score-y cool and bad.
mise-en-scene:
* warm light, peaceful sunny energy intances apartment very cinematography.I intens extreme close up shots of needle
graphic a
to shot like an advert,
calm and relaxing. * Vincent's brown coat, his out
of uniform - seeing
a differentside to him * angelic streetlights as he drives - cool glamourisation editing.I long edite a slow motion moments in heroin montage a
fades referential
to black-self
& obvious back projection as he drives-old Hollywood Homage.
mia's introduction
sound: - Mias VO reads the note-self referential-reminds us it's a film. * pleonastic ambient
2 - sound of cricits a
tiny quality of miss voice over intercon -
creates tension. * son ofa preacher - diegetic?
mise-en-scene:
* mia's character design, obviously wearing a wig isclear einematography realits
ac of talking into mic a tracking of
shot feet Tarantino's footfetish
they are 'characters. A red lipstick, powerful seductress.
editing.
·
I milling
long edits of Vincent about awkward. cross-cutting
I
marvin is shot
sound: - humorous dialogue' on shit, just snot Marvin in the face
2 -
mise-en-scene:
* black and white suits -
gangster uniform -
continued idea cinematography.I camera avoids o fcar after Marvin is shot
backseat
* Cream,
white car interior, manes blood way more impactful. * Marvin in background of Vince's close up foreshadowing.
Design...
B
-.
-
⑧a i IOf ANA7+70.994
↑ -
⑧S
V Al
⑪
&
-one scene analysis experimental
A
-> Uma Thurman, Samuel (Jackson narrative Tarantino
+
as an auteur.
-
H
~
↳
wi
↳ d John Travolta, Bruce Willis. The film is post modernist.
suces and vincent
postcredits
sound:I during the credits -- song changes, is loud and non-die-
record scratch sound effect
2 - -getic. Then fades in volume and becomes diegetic, is the song vince and Jules are listening
mise-en-scene: to on the radio. Tarantino using pre-existing sonas he lines. A heavy dialogue --
lengthy
* matching black suits - white shirt, slim black tie gangster conversation aboutnothing important. I'll big mac'thumour, comfy casualness -- establishes
uniform reference -
to his first film, Reservoir Dogs -
auteur. vincent and Julespartnership.
* brightb lue sky outside bold primary colours -- auteur.
* beige car -- quite ordinary -- nothing eye-catching a
or of pati- cinematography. I start
of c amera staus static
moment in
profile shot
ofVincent -
-
cular interest. audience are immediately aligned with him. A tightly framed close up (POV?) Snot-
editing: long takes, allows us to focus on dialogue reverse shot as they talk-partnership. Flow angle car trunk shot-Goodfellas homage.
the apartment
sound:* Jules' powerful tone of voice -- Tarantino avoids stereotypes by giving sules very
2 dialogue -
eloquent educated way ofspeaking -b'allow me to retort'
mise-en-scene:
* artificial golden glowing light
from briefcase, exaggeration cinematography
+
a longshot close ups on cules - power, dominance, controls the
creates mustery
- is a McGuffin importantb ut no outcome. scene. * Vincent in background of shots-y back-seat presence in the room.
* contrasti n costumes - Jules and Vincent
are more official po editing:a shot-reverse -
shot-builds tension.
* action of Jules shooting guy on sofa-r randomness.
Vincent does Heroin
sound: normal everyday conversation h is carry
about Lance -
seeing a different side of Vincent-notgangster
2 A mysterious instrumental score-y cool and bad.
mise-en-scene:
* warm light, peaceful sunny energy intances apartment very cinematography.I intens extreme close up shots of needle
graphic a
to shot like an advert,
calm and relaxing. * Vincent's brown coat, his out
of uniform - seeing
a differentside to him * angelic streetlights as he drives - cool glamourisation editing.I long edite a slow motion moments in heroin montage a
fades referential
to black-self
& obvious back projection as he drives-old Hollywood Homage.
mia's introduction
sound: - Mias VO reads the note-self referential-reminds us it's a film. * pleonastic ambient
2 - sound of cricits a
tiny quality of miss voice over intercon -
creates tension. * son ofa preacher - diegetic?
mise-en-scene:
* mia's character design, obviously wearing a wig isclear einematography realits
ac of talking into mic a tracking of
shot feet Tarantino's footfetish
they are 'characters. A red lipstick, powerful seductress.
editing.
·
I milling
long edits of Vincent about awkward. cross-cutting
I
marvin is shot
sound: - humorous dialogue' on shit, just snot Marvin in the face
2 -
mise-en-scene:
* black and white suits -
gangster uniform -
continued idea cinematography.I camera avoids o fcar after Marvin is shot
backseat
* Cream,
white car interior, manes blood way more impactful. * Marvin in background of Vince's close up foreshadowing.
