Discuss the impact of two key experimental features of the narrative in your

chosen film option. [20]

‘Pulp Fiction’ (Tarantino: 1994) offers an experimental approach to narrative, primarily through
Tarantino’s reliance on pop culture, or alternatively, through his avante-garde use of a
soundtrack. The incorporation of these aspects is highly crucial in the development of, as well as
viewers’ response to the narrative.

One of Tarantino’s distinguishing directorial traits involves frequent references to pop culture in
order to further develop the narrative. This can be shown through dialogue, soundtrack, and
mise-en-scene throughout the film. For example, during the confrontation in Brett’s apartment,
Jules quotes a bible passage seemingly distinguishing Jules as the redemptive character,
foreshadowing the end of the plot whereby he rejects his occupation as a hitman in order to
instead “walk the earth”. Additionally, during the attack on Marsellus Wallace, Tarantino
seemingly acknowledges the film’s somewhat fluid approach to genre. As shown through
medium shots, Butch cycles through a series of props associated with other genres, such as a
baseball bat, or eventually a chainsaw. The latter is shown whilst the diegetic screams of
Marsellus are heard from the basement below, with Tarantino applying an alternate way of
conveying the narrative to his audience, given the correlation between his choice of weapon to
the horror genre, implying the brutality of the situation without directly showing it. The
narrative ending of the film, whereby Jules and Vincent leave the diner, seemingly pays homage
to spaghetti western films, with medium close up shots of the two, centrally framed, as they
return their weapons to a make-shift holster (given their costumes). As the two turn to leave,
the slight low angle shot connotes a sense of victory, once again seeming parallel to the
spaghetti western subgenre. It could be argued that a similar approach is taken with the
introduction of Mia Wallace. Firstly, she is heard before she is seen, creating a sense of mystery
as her voiceover reads the card shown to be held by Vincent in a closeup POV shot. This, then
followed by a closeup shot of Mia’s lips as she speaks seems reminiscent of romance films,
perhaps signalling to viewers from the beginning the nature of the subplot that is about to
unfold. During the sequence in Jack Rabbit Slim’s, the car booths shown in the background as
the pair walk through the restaurant could be argued as homage to ‘Grease’, another film
starring John Travolta, which is more commonly associated for its romantic tension, the
intertextual reference once again providing viewers with further narrative insight. Another
possible reading of this scene is the references to Elvis Presley and Marilyn Monroe also
providing further insight to the development of the narrative. Whilst a surface reading would
simply imply their presence as part of the theme of the diner, their individual contexts hint at
the end of this narrative section, as medium closeups of Presley and Monroe could perhaps
foreshadow Mia’s own overdose, as they are shown through her point of view.

Another experimental feature Tarantino implements in ‘Pulp Fiction’ is his use of a soundtrack.
Rather than include an original score, viewers are instead provided with a soundtrack directly
influenced by his own music taste. While this decision itself may not be entirely experimental,
his use of contrapuntal music throughout could be argued as such. For example, the opening
soundtrack of Dick Dale’s cover of Misirlou suggests from the beginning, the idea of a challenge,
as the cover was originally made to disprove a fan who claimed it could not be performed. This
links to the positioning of Honey Bunny and Pumpkin on the hierarchy of professional to
amateur criminals, and their challenge to expectations as, “nobody ever robs restaurants”.
Further on in the film, the upbeat surf rock playing diegetically in the background while
Marsellus Wallace is attacked likely emphasises the visceral elements of the attack, rather than
aligning the audio with, for example, a non-diegetic score aligning with him. This may be due to
the pre establishing shots distinguishing Marsellus as a rival to Butch (for example, the low
angle close ups or the POV shots during the street conflict), perhaps suggesting that while the
attack is horrific, audiences are more focused on Butch’s role as the saviour rather than
Marsellus as the victim, in an arguably experimental way. Furthermore, the same could be said
during the scene whereby Vincent drives an overdosing Mia to Lance’s house. The diegetic
sounds from the TV in Lance’s home offer a more comedic and less serious outlook on a highly
problematic scenario, with the shot by shot relationship between both Lance and Vincent
highlighting the contrast between their reactions. Additionally, the lack of score or soundtrack
as Vincent arrives creates a more immersive feel to the film, perhaps highlighting the reality of
such actions, staying neutral in the portrayal of substance use. Alternatively, it could be said that
the like of soundtrack once again provides a comedic outlook for its viewers, as the lack of
background ambiance allows for more focus on the quick-paced back and forth dialogue
between Vincent and Lance, paired with their attempts to carry her inside the house. This
almost childlike display contrasts the severity of the situation entirely, perhaps experimentally
with its use of dark humour as a result of Tarantino’s auteur influence.

To conclude, Tarantino’s use of experimental features adds an element of depth and debate to
the viewing process, as their effects are arguable ambiguous.