Hollywood and Entertainment

Comparison of two films from Quentin Tarantino 's filmography from the semi-independent domain into the mainstream

Introduction

Independent film, traditionally, in a broad sense, refers to any feature film produced by" non-Colombian, Disney, MGM, Paramount, Global or Warner Bros. ", which typically has a low cost, On behalf of ethnic minorities and marginal subcultures and other characteristics, it is also based on its low cost, low input and simple props set, in order to strengthen the quality of the film, the 1980s gave birth to independent film on artistic quality and artistic innovation, Film for the mainstream form of the show, the pursuit of art is generally greater than the commercial demands (Chaovalit, 2005). Therefore, the independent film, both in value orientation or artistic performance with the mainstream commercial large studio system was completely antagonistic trend. However, since the 90's, with the independent film art concept, the independent production of the company's financial situation, the mainstream studio market strategy, technological progress and other subjective and objective factors change, independent film industry's face from the inside out by the new impact (Whalin, 1974). During the period there was a part of the works of Quentin Tarantino as a representative of the artistic quality and commercial potential of a good movie, that is, the film refers to the "middle zone" film. Market logic began to penetrate the independent film people thinking, so that they spontaneously committed to mining business and art win-win "intermediate zone" movie, with the intention of the market share of the share, the independent film will be the value of the concept into the audience (Beaudouin, 2016).

Analysis

October 14, 1994 public issue of "pulp fiction" can be said to be Quentin Tarantino's first large-scale success of the "middle zone" film. On the one hand it gains the 1994 French Cannes Palme d'Or film; on the one hand to $ 8.5 million cost budget to recover the global $ 129 billion box office business success as the first box office super billion independent film (Boatwright, 2015). The 2009 "Inglourious Basterds" as Quentin as a film author's self-directed works, and made at the box office on the unprecedented success, it retains the pure blood of the Kun-style film, and contains a distance from the Development Trend of Kun - band Films in the 15 Years of Pulp fiction. The following article will compare the similarities and differences between the two films from four angles. First, the narrative strategy (Chaovalit, 2005).

"Pulp fiction" full film to take a fragmented narrative strategy, the middle three fragments were marked with subtitles, the paragraphs basically maintained a linear narrative within the law (Boatwright, 2015). There is no relationship between the fragments before and after, and each paragraph has its own plot focus, the protagonist of each paragraph also has its own merits. Vincent's character runs through the whole film, but there are times in the status of each segment. In fact, the author subverts the audience on the traditional film linear narrative aesthetic stereotypes, the film's timing disorder, clever use of a series of clues to each piece of the film into a whole, so that the whole narrative was ring (Wuorio, 2011). The beauty of the narrative strategy of "pulp fiction" lies in the fact that this collage is not meaningless game, whether the effect is directed by the director's subjective or accidental, the film through the whole character system intricate relationship, reflecting the personal destiny of the impermanence and the occasional nature of history, and this story with the story of Jules on the "miracle" of the epiphany there is a paradoxical relationship (Dawtrey, 2004), it can be said to achieve the form of the theme of service functions. For the film audience, although the whole story of the whole view, but through the narrative of multiple perspectives, the timing of the disruption, the grasp of the fact that the panorama is not convinced, it is more like a director of the intellectual game, Here, the audience is not like the mainstream commercial film as blindly passive acceptance of visual wonders, but as a participant to rack their brains to play a "jigsaw puzzle."

The film "Inglourious Basterds" narrative modeled on the chapter back body novel style, the whole film is divided into five chapters were named. Although the surface continued Quentin's fragment style, but with the "pulp fiction" there is a fundamental difference. It is not difficult to see it divided into two clues: First, the French girl 's revenge, this part of the contents from one, three, five narratives; Second, "Inglourious Basterds" on the Nazi sabotage, by two, four, five-chapter description (Dawtrey, 2004). Two clues are arranged in chronological order, two clues in the fifth chapter rendezvous, so as to achieve the climax of the whole film. Hans Lanta in the two clues as a key figure appears, in addition to a more important clues figure Gestapo, Hitler, etc. in which interspersed, making the film has a sense of the whole (Ye, 2006). Quentin gives the audience an omniscient perspective to show that the audience is a passive subject in the viewing experience. In terms of film psychoanalytical terminology, it is closer to the "oral" viewing state of the mainstream commercial film, more opens the door to the problem of the spectacle of violence that will be analyzed below (Lewis, 2003).

Second, the violence presented the problem of violence is a question about Quentin Tarantino's film, which is never open, and his violent aesthetics from the early to the present is not immutable, from the form of expression to the value of ideas, have shown a mainstream market demand convergence. Violence in "pulp fiction" can be divided into the following three categories: Indirect dictation of violent scenes (Chaovalit, 2005). The dialogue becomes a tool for describing violence, and the perception of violent scenes and their consequences is more dependent on the viewer's initiative. Emphasize violent action, not directly show the effect of violence. In these lens paragraphs, Quentin concentrated expression of the violence, the camera aimed at the muzzle, but did not show the object or a swept away, do not focus on highlighting the object of the murder of the horrors, and use this part of the content to the audience Under imagination. Violent movements and violent effects are bloody. For the performance of these lenses, the film follows the principles of realism, no artistic means of rendering, all the use of natural sound, to fake real plasma, with a black, almost cold and realistic toward the audience (Fitzpatrick, 2000). Violence in the "vulgar fiction" is therefore a neutral violence, which rejects the deep sense of morality of traditional films, neither makes a negative assessment of violence, nor beautify it by art, and is only faithful to performance violence without violence (Turner, 2010). "In terms of cinema sociology and psychology, it is a movie concept that returns responsibility and choice to the audience ... the film no longer provides social models and moral guides, and the film does not assume responsibility for the education of the audience, it believes that the film provides a purely aesthetic judgment. " Inglourious Basterds "violence and" pulp fiction "violence is different, first of all it will abuse and abuse as a whole to intuitively presented, without the slightest Subtle space. And on this basis, its violence also showed two trends, one is a realistic show of violent scenes, but in this real show also incorporates more creativity, will focus on highlighting the way to kill the novelty and ritualized (Fitzpatrick, 2000). This approach uses violence as a spectacle and visual stimulus to satisfy the spectacles of the audience, exudes a strong dramatic, romantic atmosphere. In addition to creating a strong drama in the script conflict, Quentin also fully mobilized close-up, quick editing, upgraded lens and other lens language, supplemented by sound, soundtrack, costume dance show, revealing a thick Hong Kong The artistic charm and aestheticism of film violence aesthetics show the beauty of a kind of packaged commodity (Lewis, 2003).