TRAILER ANALYSIS’ POSTMODERNISM FILMS

PULP FICTION (1994) Pulp fiction is a prime example of postmodern media as it has three genres, making it a hybrid – crime, drama & thriller. Quentin Tarantino Pulp fiction also uses intertextuality, repeatedly referring to earlier films in the way that a lot of postmodern films do. For example in the trailer, they go to a retro restaurant with old school music. When the waitress (Marylin Monroe)’s skirt blows up on the blow hole it reminds the audience of the film ‘Seven Year Itch’ (1955) Billy Wilder. CHARACTER TYPES Vincent Vega - Protagonist Marsellus Wallace - Antagonist Butch Coolidge - Protagonist Jules Winfield- Helper Mia Wallace - The Princess

Throughout the trailer not much is given away about the narrative or the characters of the film, although it explains the clear genre of crime very well through signs of guns and drug use. Half way through the trailer the word ‘betrayal’ flashes up indicating that there will be disruption between characters in the film. PULP FICTION (1994) Quentin Tarantino STRUCTURE As for the characters the trailer suggests that there are two hit men working for Marsellus Wallace who has gone away. Vincent Vega (one of the suggested hitmen) is also asked to look after his wife (Mia Wallace).

Lighting The lighting in pulp fiction is generally quite dark and gloomy which is a general convention for crime films. It also emphasises the mood and atmosphere of the film and creates a sense of uncertainty. Props In the trailer, most of the props are associated with guns and money. These types of props make the genre of the film obvious as these are typical props for a crime genre. The girls behind Mia Wallace are shown putting on make up on the other side of the door when Vega and Winfield knock. This shows that they are there purely as Mia’s ‘side girls’ and want to impress the men on the other side of the door. Costume Vincent Vega and Jules Winfield both wear suits and carry guns to indicate to the audience that they are both hitmen. These suits also have a very ‘film noir’ look to them. Their matching suits make it clear to the audience that they are partners in crime. There suits also give them an element of authority amongst the other characters. Location The location is set in California (as seen on the license plate of the car). It is also set in a very urban area where crime goes on in broad day light which is very common for crime films. Figure expression In the trailer Vega and Winfield both have continually stern looks on their faces. This emphasises that they are ‘business’ men. The first glimpse of Mia Wallace that you see in the trailer, she looks very possessive. This indicates that she is a strong woman that can take care of herself. PULP FICTION (1994) Quentin Tarantino MISE-EN-SCENE

In the trailer, there are four soundtracks which are all of either the hip hop or the country western genre. Each one of these soundtracks are interrupted and changed when a new title came up on screen. This suggests repetitive disruption of the narrative throughout the film. 1. Black Eyed Peas – Pump It 2. Urge Overkill - Girl, You’ll Soon Be A Woman 3. The Centurions – Bullwinkle Part 2 4. Kool & The Gang – Jungle Boogie Nearing the end of the trailer, the narrator reads off a list of the cast and matches their names to a clip of them. A specific clip has been chosen for each to give you an insight to what that character is like. E.g. Marsellus Wallace’ clip is of him looking very mean and tough which explains his character. PULP FICTION (1994) Quentin Tarantino SOUND

There are three main extreme close-ups in the trailer – Mia’s lips on a gun, a cash machine and the play button on a tape player. As these three things are slightly strange put together, this leaves the audience wanting to know more about the film and how the three are linked and how they fit into the storyline. The shot of Vega and Winfield opening the boot looks like it is a P.O.V shot but if there is a body in there, it isn’t alive leaving the audience to question the narrative once again. This shot also makes these two characters look very dominating. The fast paced soundtrack makes up for the editing not being as fast paced as the typical crime trailer. PULP FICTION (1994) Quentin Tarantino CAMERA/EDITING

SNATCH (2000) SNATCH (2000) IS A HYBRID BRITISH CRIME FILM USING GENERIC ICONOGRAPHY FROM 1960S CRIME CAPERS, SPAGHETTI WESTERNS AND 1980S GRITTY GANGLAND AND HEIST FILMS. POSTMODERN ELEMENTS INCLUDE HIGH ART EDITING AND CHALLENGING NARRATIVE THEMES AND REPRESENTATIONS. Guy Ritchie Protagonist and Helper: Turkish and Tommy – Anti Heroes Antagonist: Cousin Avi – American Gang Leader stereotype Helper: Mickey – Gypsy (Pikey) stereotype turns hero Antagonist: Brick top – British Gang Leader Stereotype CHARACTER TYPES

SNATCH (2000) Guy Ritchie STRUCTURE Part 1: Introduces the narrative equilibrium themes of a diamond heist by the American gang through the voice over of the key Protagonist, Turkish, who is linked through a parallel plot of a boxing match. Part 2: The Disruption is two fold highlighted with key texts ‘where is the stone’ and ‘your going down’ hinting at a rigged fight, showing a montage of action shots. Part 3: The Cast are introduced using a Spaghetti western influenced graphic sequence with further hints at attempts to ‘fix’ the disruption.

SNATCH (2000) Guy Ritchie MISE-EN-SCENE Lighting The trailer is generally very dark and gloomy – this could be because it adds to the mood and atmosphere of the narrative, or it could simply be because of the low camera quality they had during Props The props used are mainly to establish the generic iconography of the crime film. Costume Location Figure expression

SNATCH (2000) Guy Ritchie SOUND/CAMERA/EDITING Camera Skewed Framing gives a Postmodern sense of unease in the narrative and characters. Editing Postmodern Editing – Time remapping is used to accentuate action scenes and excite audiences. Still framing is used as a anti- narrative device to highlight key frames in the action, coupled with film noir-ish voice over, to drive key narrative points. Still frames are used to highlight key characters using heavily stylised graphics, akin to Graphic novel styles; and Spaghetti western fonts. Also highlighted in the soundtrack. Sound Voice Over – using the key Protagonist, Turkish, to set the narrative theme and plot. An anti-hero with a cheeky cockney drawl, establishing the ‘crime caper’ element. Fast paced ‘remixed’ dance music drives the action and sets the frenetic pace. Remix of 70s iconic Incredible Bongo Bands ‘Apache’. Diegetic sound uses dialogue from key characters to help drive the narrative. Non diegetic sound effects such as ‘fast rewind’ used as the visuals and editing speeds up.