Does Quentin Tarantino's unconventional yet persistent portrayal of strong, independent, anti-heroine characters within his filmography classify him as an auteur?
Films:
Item 1
'KILL BILL' VOL. 1 & 2 (2003) - Director/Writer: Quentin Tarantino
I chose both parts of Kill Bill focus' for my presentation as they offer the majority of evidence within my research in order to prove and support my hypothesis. I also consider the two films as one: like how they were originally intended by the director. Despite the splitting of the film into two by Miramax due to risk of the extended length resulting in a smaller audience, Tarantino has stated that he shot more footage than he originally intended and agreed to split the film. Therefore, this does not go against Tarantino being considered a true auteur. The main character of the film, played by Uma Thurman, is simply referred to as 'The Bride' throughout. Thurman previously starred as Mia Wallace - another strong minded and exuberant character in what is considered Tarantino's masterpiece:
Pulp Fiction. The Bride is seen as the underdog from the very first frame of the film. However, once she sets out on a quest for revenge after being shot by her ex-lover assassin, Bill, on the rehearsal of her wedding day, she becomes a true anti-heroine. Despite being the second in Tarantino's filmography to feature a strong leading female, the film takes priority due to it's original screenplay that makes it personal to the director.
Item 2
'Jackie Brown' (1997) - Director/Writer: Quentin Tarantino
I have chosen to use this film as the main character 'Jackie Brown' (played by Pam Grier) draws similarities to the directors' independent mother. Having grown up without a predominate father figure, Tarantino often makes the main villain in his films a mysterious older male (Marsellus of
Pulp Fiction, Bill of
Kill Bill and Hans of
Inglourious Basterds etc.). This is also the case with Jackie Brown. Tarantino's changes to Elmore Leonard's novel, such as the main character's race. This shows his need to make the story in his own auteurist vision.
Item 3
'Inglourious Basterds' (2009) - Director/Writer: Quentin Tarantino
This World War II film also showcases many different views of women as seen by themselves and its male characters. The main character of the film is Jewish-born Shosana. Numerous elements of the story make Shosana seem powerful, focused and in control of her mission, all whilst constantly under Nazi occupation of France. In her last appearance on screen, after her death just seconds prior, a projected extreme close-up head shot message of Shosana describing her revenge to a confused audience of Nazi's is shown. The style of this message is a clear visual reference to George Orwell's "Nineteen eighty-four" character Big Brother. Therefore, Shosana is given apparent power over the viewers fate in the theatre: much like Tarantino's auteuristic control over his films audiences enjoyment. Much like how Big Brother is viewed by the citizens of Oceania, Shosana is also viewed as the "benevolent protector of all citizens", thus all in the theatre must die in her eyes.
Scripts:
Item 4
'Django Unchained Script' (2012) - Writer: Quentin Tarantino
I have chosen to include the script of Tarantino's 2012 slavery based spaghetti western instead of the actual finished film as the portrayal of Django's wife Broomhilda is more inspiring and developed due to the inclusion of an essential character building scene that made her character seem less like a damsel in distress and more of a force to be reckoned with, thus she's another example of a strong Tarantino female heroine.
Articles:
Item 5
'4 Evolutions of Women in Quentin Tarantino Movies Roused by the Want for Revenge' - By Gemma Mary-Louise
I've chosen to use this item as I feel the writer makes a lot of varied points regarding how often Tarantino makes the vengeance-pursuing women of his films seem at first passive and then active. They also makes note-worthy points of how the director combines visuals and dialogue to evoke a feeling of empathy towards these women within the audience, despite knowing that they are not always the character we should be rooting for, which makes them anti-heroines.
Item 6
'Revenge of the Pussycats: An Ode to Tarantino and His Women' - By Bitch Flicks
This item was chosen as it details how the women of Tarantino's films compare to those of other auteurs. The publisher makes great points of why it is important and significant for Tarantino to make his female characters not just one-dimensional fighters but strong minded, unique characters with intriguing backgrounds such as that of Shosana in Inglourious Basterds.
Item 7
'From Script To Screen: The 12 Biggest Deleted/Un-filmed Scenes From 'Django Unchained'' - By Drew Taylor
I felt that this item would be useful to include in my catalogue as it details all of the changes made from the script to the screen, such as the removal of a lot of Broomhilda's (Kerry Washington) backstory. They also reason in detail why this was such as blow to the outcome and perception of Washington's character and thus the film. Through research I have discovered that this is the case for other critics who have read the script. The article also describes a lot of different theories as to why Tarantino did not include these scenes.
Item 8
'How Leonard's Jackie Burke Became Tarantino's Jackie Brown' - By Meredith Borders
This article was an interesting insight into the Elmore Leonard novel
Rum Punch that was adapted by Tarantino
. The writer, who read the novel prior to viewing Tarantino's version, details how Leonard told Tarantino he appreciated the changes made as he felt it was important for it to be Tarantino's own vision.
Reviews
Item 9
'Jackie Brown Movie Review & Film Summary' - Roger Ebert review
This review makes good notes on how Tarantino is great at casting the women, such as Pam Grier in his films, something in which is not always present in most crime-thrillers. Ebert also details why he thinks Tarantino is "the real thing" i.e. an auteur in control of his craft as opposed to a puppet controlled by an organisation.
Item 10
'Jackie Brown Movie Review' - Peter Travers for Rolling Stone
I find this review to be worthwhile due to how it makes connections to Tarantino's history and his adoration for the history of Blaxploitation that emerged when he was young. Interestingly, it notes how Tarantino viewed Grier as someone with a maverick spirit and timeless presence on screen and off, despite being written off by most critics due to her involvement in many films described as "gore junk". This shows Tarantino's ability to think differently in regards to the actors he works with. Another example is John Travolta in Pulp Fiction. At the time of developing Pulp Fiction, Travolta's career was on a downward trajectory since 'Grease'. Despite this, Tarantino was able to see beyond his falling success, realise his talent and what he could bring to the film.
Video:
Item 11
'Sally Menke, Editor (1953 - 2010)' - By Jim Emerson
Sally Menke was the acclaimed editor of Tarantino's films up until her death in 2010. This video posted by Vimeo user Jim Emerson explains the techniques used by Menke in creating tension and how precise and thoughtful editing can have an affect on an audiences views and understanding of the characters thoughts and emotions towards others based upon the situations they are in. I also think that it is important to include evidence of Menke's effect on how Tarantino's films are viewed as she herself was a female the director grew very fond of and most likely drew inspiration from for the development of his female characters.
Essays:
Item 12
In this Essay produced by a film studies student, Tarantino's use of strong female characters is analysed and linked to why he could be and is often considered an auteur.
Interviews
Item 13
'Quentin Tarantino On His Character from PULP FICTION: Mia Wallace - AFI Interview (2009)
In this brief segment of an interview with AFI, Tarantino mentions why Mia Wallace is a mysterious character to the audience. It also suggests potential reasoning's for Tarantino to have wanted to replicate this setup in Kill Bill.
Item 14
El Rey Network's 'The Directors Chair: Quentin Tarantino: Part 2' (2014)
In this Robert Rodrigues interview of Tarantino, the director discusses new topics such as his need to write his own films starting from "The blank page". This interview is great for discussion of this topic as Tarantino continuously expresses his reasons for wanting to be what I would deem as a true auteur of film. It is also my opinion that this is great material to enhance my presentation as it shows never before seen footage of Tarantino directing his actors, such as Thurman and Grier on set.
Item 15
Charlie Rose Interview (2012)
In this interview, Tarantino explains how Terry Gilliam taught him a lesson on how to have his vision come through to the audience and in affect be viewed as an auteur. He states how his job as a director is to direct others: to surround himself with those who are the best at what they do, such as his actors, and can achieve these elements he desires by themselves.
Item 16
Pam Grier GQ Interview 2012.
Book's
Item 17
'Quintessential Tarantino' - By Edwin Page
This book notes how Jackie Brown was a departure for Tarantino as it was of a slower-pace than his previous films yet also introduced a previously lacking female lead character. The book also notes that the use of a African American female lead in a crime-based action drama defies genre convention, an element of postmodernism displayed by Tarantino. The book summaries that through his use of postmodernism elements such as this, he delivers a specific style of cinematic entertainment, a brand of movie which is clearly identifiable. "This is auteurism"{Page 22}.
Rejected Items
Item 18
'True Romance' (1993) - Written by Quentin Tarantino, Directed by Tony Scott
I have decided to not include this film due to its vision being altered by Tony Scott, similarly to how Tarantino changed elements of
Rum Punch.
Item 19
Cannes 2014 Film Festival Q&A
In this panel discussion, Tarantino expresses his desire to make films as an auteur despite a desire to also entertain his audience. However, he does not talk enough about his collaborations with actors which is necessary to answer my hypothesis.
Item 20
I have rejected this interview as I feel that it focused more
