How Is Realism Used In Pulp Fiction

In 1994, Quentin Tarantino released his widely acclaimed crime thriller Pulp Fiction. The film is comprised of multiple short vignettes and focuses on seemingly unrelated characters, such as boxer Butch, hitmen Jules and Vincent, and mobster’s wife Mia. Throughout this film, Tarantino uses a variety of techniques to enhance the experience of the viewer. However, he does not adhere to the tenets of realism, a film theory advocated most strongly by critics Andre Bazin and Siegfried Kracauer, but still succeeds in portraying reality. According to realist theory, films should be as representative of reality as possible. Consequently, realism discourages the use of editing, montage, and manipulation of space and time. Additionally, realism promoted the use of deep focus contributed greatly to the film by providing the audience with multiple planes. Tarantino goes against many of the aspects of realism and makes use of heavy editing, manipulation of space and time, and montage to create the illusion of reality in Pulp Fiction.

Realist theory supports linear plotlines, as that is analogous to real life. Contrarily, Tarantino's film is representative of a jumbled plot. Multiple storylines are weaved together, and often overlap with one another. Realists believe a linear storyline helped build tension as the film progressed. However, Pulp Fiction manages to build the tension even more effectively with its tangled narration than it would have with a straightforward plot. For example, the first scene of the film begins with Pumpkin and Honey Bunny discussing their plans to rob the diner. The last scene of the film picks up with the diner again, but from the perspective of Vincent and Jules. By breaking up the storyline rather than continuing in a linear fashion, Tarantino effectively builds the suspense; the audience is left wondering what will