Quentin Tarantino Auteur Project.

Analysis of Quentin Tarantino’s body of work with relation to auteur theory focusing on the context of the films produced and the visual elements:
 
In this essay I will critically analyse the visual style used by Quentin Tarantino, the narrative and context in which his films were produced and the aesthetic of his body of work. I will address how meaning is created through Quentin Tarantino’s fundamental visual elements including camera placement, blocking, lighting and scene length and how interpretations of meaning can be articulated through the application of those techniques and methods. I will analyse auteur theory and the origins of the theory within cinema history. Throughout this evaluation I will investigate how films are perceived by audiences and the themes and visual motifs used within Quentin Tarantino’s films.
 
My chosen Auteur Quentin Tarantino established himself as pioneering new filmmaker and director in the 1990’s, characterized by his hip-talking, hypnotically shot, ultraviolent US independent films, Jim Smith (2010) outlines Tarantino’s influential film making aesthetic, “Tarantino films revolutionised American filmmaking and spawned a number of imitators, the iconic films include Pulp Fiction, Jackie Brown and Kill Bill, as well as exploring the Tarantino scripts that were filmed by other directors such as True Romance and the controversial Natural Born Killers.” (PAGE 2 ) Whilst exploring Tarantino's range of projects as an actor, producer and presenter and his work outside film, I will analyse the significance of Tarantino’s use of recurrent actors, anachronisms, borrowed music and visual and technical significance of Tarantino’s themes such as heritage, revenge, Blaxploitation and female empowerment, exploring the use of props and stylistic motifs evaluating the meaning and audience response.
 
Quentin Tarantino as an auteur utilizes various genres within his films, Chinese martial arts, Spaghetti Western, Blaxploitation and Italian Horror formats. Tarantino’s directorial Debut was the 1992 Reservoir Dogs which contained what would later become signature Tarantino dialogue, chapter divisions, and the signature humour. Quentin Tarantino (2000) explains the reasoning behind the stylized cinematography and humour, “I am drawn to genre cinema. But I am an artist going my own way and telling my own stories. I have my own sensibilities and things I want to do, but I like doing it in the guise of a genre film that can be entertaining and fun to watch. So I don’t want them to be art-film meditations on genre. I want them to deliver the goods that you get from those genres, but it’ll be dancing to my tune.”  (PAGE 5) This denotes that Tarantino adheres to his own film making styles and is not controlled within the industry or studio system, for example with Reservoir dogs Tarantino refused to relinquish creative control over the film, when approached by the Weinstein’s they proposed that if he wanted funded then Tarantino must change the graphic content, Tarantino being dedicated and honest to his film making stated that he would only produce the film if it was how he wanted it to be, which reinforces the idea that he is an auteur.
 
Reservoir dogs incorporated violent crime, pop culture and a non-linear structure which would later become a trademark directorial style of Tarantino. Reservoir dogs integrates the theme of redemption and morality through mankind’s suffering and pain that we inflict on each other as stated by Quentin Tarantino (2000)  which outlines Tarantino’s approach to film making, “The use of these themes and motifs established Tarantino as a post-modern neo noir film maker who fuses different genres and incorporates cinematic devices.” (PAGE 7) In Reservoir dogs the use of colorization is a significant visual style, particularly with the distinguishing colours between the police in blue uniform and the robbers in Black suits, white shirts and thin ties, this visual embellishment is a style Tarantino has incorporated in his later works such as Pulp Fiction. The visual significance of suit cases are also a prominent theme in Tarantino’s films, incorporating the theme of crime and film noir, both the robbers from Reservoir Dogs and Vincent in Pulp Fiction use briefcases to enhance mystery within the plot.
 
The visual colour palette of Tarantino’s films are significant in particular enhancing the realism with Reservoir Dogs, Patrick Smith (2013) outlines the use of lighting within Reservoir dogs and the narrative style, “The outlook of Tarantino’s post-modernist style and heightened realism had the effect of disorienting the spectator, largely through lighting, editing, oblique camera angles in particular the recurrent shot from the boot of a car, used in Pulp Fiction with the scene between Vincent  Vega and Jules as they collect the briefcase and Reservoir Dogs to create tension and mystery.” (PAGE 7) The meaning and usage of Tarantino’s close up shot from a high angle into the boot of a car, is inspired by Martin Scorsese’s Good-fellas in which the shot is famously used with Harry in the opening sequence of the film, Tarantino crafted the same shot as it creates tension and mystery with the genre of crime. Tarantino’s visual style questions deeply  the viewer’s ability as subjects to question their own morality, with the juxtaposition of ‘stuck in the middle with you’ playing as a lively, happy song whilst dark, evil acts take place, this often creates ambiguity for the viewer but is Tarantino’s signature trait which is also used in Django Unchained with the scene where Django shoots the brittle brothers, the dark visuals and excessive blood is juxtaposed with the line spoken by Django ’I like the way you die boy’, this line creates humour for the audience and also encourages them to support Django after his years of oppression. 

Importantly the use of narrative construction; a recurring element is a non-conventional method of storytelling which instantly is recognizable as Tarantino, for example the use of non-linear format in Pulp Fiction, Chapter format in Kill Bill and use of bold large title cards in sections of Django Unchained to introduce locations and settings the sleek large bold font that scrolls across the screen is a style of Tarantino’s.
 
Tarantino’s distinctive personal vision is imbued with the use of quick cuts and extreme close up’s used in Pulp Fiction and the use of Crane shots in Kill Bill, Edwin Page (2005) outlines various threads of visual style that are used by Tarantino, “Quentin Tarantino as an auteur develops and employs Long close up shots of characters with diegetic sound off screen, in particular in Kill Bill when The Bride attacks while Bill talks off screen and in Pulp Fiction of Butch while Marcellus talks.” (Page 10) The use of iconography and filmic conventions used by Tarantino which include the use of props are also a continuous theme throughout his body of work, Jami Bernard (1995) outlines how the use of stylized weaponry and aesthetic are a stylish signature of Tarantino, “The frequent use of Melee Weaponry such as the Katana sword in Kill Bill and utilized by Butch in Pulp Fiction, the scene in the Macaroni Combat film Inglorious Basterds in which Aldo Raine uses a switchblade to carve a Nazi symbol into the forehead of Colonel Hans Landa.” (PAGE 7)  The use of a wide array of iconography is what defines Tarantino as an auteur, the visual signification of the suits in reservoir dogs to establish the robbers and the use of names such as Vincent Vega in pulp fiction and Vic Vega in reservoir dogs which is again another subtle theme that is used in Tarantino films to create an interconnected element of characters, this is supported by Tarantino’s concept of creating a film called the Vega’s brother’s whereby characters are connected.
 
Gerald Peary (1998) outlines a quote by Tarantino that defines his vision and reasoning for violence and stylized settings, “"As an auteur I look for environments such as the Spanish locales which featured in spaghetti westerns – a no man's land, in Inglorious Basterds for example With US soldiers and French peasants and the French resistance and German occupation troops.”(PAGE 16) The quote by Tarantino is highlighted by his own vision to create a spaghetti Western but with World War II iconography, the symbolism of the Nazi sign and the violence is his own visual stamp, for example the Nazi Iconography on the Helmet of the soldier, eagle atop swastika and Black SS uniform is recognizable as a Tarantino style.
 
The origins of the Western themes were rooted in conflict between the civilized members of society and the lawlessness, Quentin Tarantino’s current film Django Unchained set in the Antebellum era of the Deep South of America utilizes western iconography such as the setting of the pre-civil war deep south, Richard Green ,(2013) explains Tarantino’s individual signature style which was a homage to spaghetti western films, “"Tarantino creates a film that deals with America's horrifying past with slavery and suppression in the style of a spaghetti western. Tarantino confronts the troubles that many film makers have not dared to delve into. Inspired by the films of Sergio Corbucci and the horrible wild west,. “ (PAGE 13) This is supported  as it is evident Tarantino added his own directorial stamp with the theme of revenge which is a recurrent theme throughout his filmography, the revenge from the Bride as she seeks to Kill Bill, the revenge from the Jews who want to mercilessly kill Hitler in Inglorious Basterds and the robbers killing Mr Orange in Reservoir Dogs because he betrayed them.
 
The iconography used reinforces the themes of tension and conflict, the use of costume is also important in establishing the syntax within Django Unchained, Jami Bernard (1995) outlines the use of stylized costumes within Tarantino’s films, “Tarantino’s stylish embellishments within his costumes provide striking visuals, Django’s valet costume rich in blue tone and King Schultz Faux Chinchilla Coat, the recurrent use of black and white pant suits with Mia in Pulp Fiction, Jackie in Jackie Brown and the Bride in Kill Bill. “(PAGE 14) Auteurs such as Sergio Leone use the iconographic imagery of poncho‘s and Armour within his films, John Woo incorporated the use of matchsticks and pigeons Tarantino’s iconographic style was the use of suits which were used in numerous films to give significance to his own personal style.  The impression which is created throughout Tarantino’s films is the use of costumes to help to establish the setting of the character and reinforces iconography.
Auteur Theory was coined during the period of French New Wave Cinema, developed by Francois Truffaut, it presented the idea that film makers codes and conventions and visual style are present throughout their body of work as explained by Barry Keith Grant (2008) who outlines the origins of classical auteur theory and the impact that it had on the studio system, “Auteur Theory covers the origins of auteurism which denotes a film maker is ultimately the author, the study of auteur theory outlines that Directors have individual styles. The early study of auteur theory within the Cahier Du Cinema comprised of Jacques Tati, Claude Chabrol, and Francois Truffaut.” (PAGE 4) During this 1950’s of cinema, film makers who were usually endorsed by Hollywood  however they soon changed and begun to seek to gain creative control and complete independent projects, this led to the development of auteur such as Tarantino who strived who make films which were not controlled by the mainstream influences.
 
Auteurs are characterized by their visual motifs for example the use of Mise En Scene; Quentin Tarantino operates a recurrent use of musical soundtracks throughout his body of work, Richard Green (2013) emphasizes Tarantino’s use of iconic music within his films, “Soundtrack is a thematic element within Tarantino’s films, The 5678’s “Woo Woo” used in Kill Bill in the prelude to battle; this Japanese psychological track was played as Uma Thurman’s the Bride stalked the building readying herself for a bloody finale. “ (page 13)In keeping with the fast-paced nature of the track, the cameras darted around the Bride, shooting her from a variety of different angles. This not only created tension for the viewer with the brooding atmosphere of the track but reinforced Tarantino’s stylized violence and excessive gore combined with his array of camera techniques.
 
Another example of iconic soundtrack is expressed by Barry Grant(2009), “Tarantino’s plethora of musical knowledge and admiration for Spaghetti Western is enforced with Ennio Morricone’s ‘L’Arena’ from Kill Bill Vol. 2, In a move emblematic of Tarantino’s limitless abundance of reference points to favourite films of his own, The piece sound tracked one of the most intense moments of Kill Bill Vol. 2. “(page 9) this is evident as the bride kung-Fu kicked her way out of the coffin she’d been placed in, apparently dead. The haunting visuals resonated with the powerful soundtrack, similarly with the use of a David Bowie song ‘Putting out the Fire with Gasoline’ used in Inglorious Basterds, Tarantino picked this song, to play a similar ploy as that of The 5,6,7,8’s track in Kill Bill Vol. 1. The song set up the bloody finale in Inglorious Basterds, with Shoshanna Dreyfuss moving along to the beat, smearing war paint and formulating herself for the final slow destruction.
 
Outlining other aspects of his directorial style is the importance of Tarantino’s vast knowledge of music and his plethora of musical collection which is the reason why his soundtracks are diverse and iconic, this is supported by Jim Smith (2010) who denotes the importance of soundtrack particularly when presenting films with historical significance, “Jackie Brown for example reinforces Tarantino’s support for female and empowerment and liberation of Black Citizens, the choice of soundtrack from The Delfonics ‘Didn’t I Blow Your Mind This Time’ linking to the action but often taking it to a mood you might not have considered. Here however The Delfonics smooth R&B 70’s hit provided the perfect accompaniment as Jackie Brown enjoyed a rare moment of happiness, the choice of sound track was essential to convey Jackie’s uplifted state of mind.” (page 9) This is also support by the use of the track Dick Dale & The Deltones ‘Misirlou' used in Pulp Fiction which is a perfectly selected song for an opening to a brilliant film, tawdry looking scene, a coolly but quickly delivered exchange by a seemingly loved-up couple, then all of a sudden action, as the diner is suddenly held up by pumpkin and honey bunny, the tension of the scene is reinforced with the brooding tone of ‘Misirlou’.

The use of circular narrative which is utilized by Tarantino is also key in Pulp Fiction in which the use of episodic narratives are used, this is a trademark of non linear storytelling within Tarantino’s films, similarly in reservoir dogs which does not show the heist scene at the beginning but leaves the audience to question what happened and then take them of another journey, this is outlined by Richard Green (2013), “ Reservoir dogs can be compared to novellas as Tarantino disorientates the viewer by playing with the real time clock as opposed to the film clock which is a tool used in Reservoir Dogs to allow the realization of the heist to be figured out throughout the film as opposed to how many film makers create stories which often shows the event at the beginning.” (page 9) The link between Reservoir Dogs and Pulp Fiction is apparent in many ways, the use of manipulating the time line and story clock, the use of black humour, violent crime with Mr Blonde slashing Nash’s ear in Reservoir Dogs and the ironic use of humour and violence in pulp fiction with the banter between Jules and Vincent as they prepare to retrieve the briefcase from Brett in a brutal violent manner, all the while humouring each other about the beauty of hash bars in Amsterdam and the cultural differences in McDonald’s distinguished between the royal with cheese as it is known in France and the quarter pounder as it s known in the UK and America, which is another reference to pop culture another common style used within Tarantino films, equally in the beginning sequence of Reservoir Dogs in the cafe, the group of robbers discuss Madonna’s song like a virgin as they laugh and share banter all the while preparing to perform a diamond heist.
 
Finally in Django Unchained Tarantino reinforces himself as a master of creating soundtracks with his fantastic cinematic juxtaposition,  Richard Green (2013) summarises Tarantino’s use of musical creativity, “The iconic use of soundtrack was first established by Tarantino in Reservoir Dogs with the heightened realism and excessive violence being juxtaposed with ‘stuck in the middle with you’ by Steelers Wheel or Urge Overkill’s ‘You’ll be a woman soon’ as Mia Wallace overdoes after speedballing in  Pulp Fiction. “ (page 9)The result of  the juxtaposition of happy 1970’s summer rock with scenes of death, bloodshed and gore creates a long lasting effect which audiences attribute to Tarantino’s wide musical knowledge and personal trademark humour. In Django Unchained the Rick Ross track ‘100 Black Coffins’ which is a synthesized hip hop track was juxtaposed with historical pre civil war Deep South and John Legend’s track ‘who did that to you’ which was a rhythm and blues piece, the most iconic track being ‘Django’ by Luis Bacalov which is atmospheric and emotionally driven.
 
Quentin Tarantino’s films have been endorsed as independent films and Tarantino has been heralded as creating cult hit films with unusual structure , the use of homage is a common theme within his films as he pays artistic respect to other film makers, this is supported by Edwin Page (2005), “  Tarantino utilizes homage to film such as the taking of Pelham 1,2,3 in Reservoir dogs with the use of colours as name and homage to the films of John Woo with the use of hard-boiled pulp magazines.” (page 12) the effect of using homage’s has led Tarantino to be outlined as a post modernist directly, he diverges away from conventional narrative structure and manipulates the audience suspension of disbelief, which is evident with the shooting of Mr Orange as he lies in the back of car which is being driven by Mr White, the heightened realism as Mr Orange’s shirt is covered in blood creates an unease for the audience and Tarantino does not employ the use of cuts to take the viewer away from the scene, similarly with the scene of Nash’s ear being slashed with a razor, the viewer is left to see the graphic detail which is very disturbing and unconventional as most studio film makers would be required to edit the graphic detail out, Tarantino however establishing himself as an independent film making force has ultimate control of the Reservoir Dogs and chooses to keep the brooding violence and tension.
 
Additionally this is outlined by Tarantino ‘s decision not to allow producers or studios to gain creative control of his material, thus being the main reason why his films are distinctive and unique, Jim Smith (2010) outlines the context in which Tarantino films were produced, “The content of Tarantino films denotes that he is not a mainstream creator, the satiric use of violence juxtaposed with uplifting happy soundtracks is his own distinctive palette, the excessive use of illicit and racist language in Pulp Fiction, the stylized visualization of Mr Orange with the hyper realistic imagery as he bleeds to death, the highly independent, sexualised empowerment in Jackie Brown and the unconventional structural format of his films with the rejection to adhere to linear format aligning Tarantino as an independent film maker. The definition of an independent film maker focuses on economics, funding, distribution and public exhibition of film.” (page 12) Other factors which are also important is the use of actors and actresses and budget, although Tarantino adheres to create his films independently, however the use of well established actors such as Bruce Willis, John Travolta and Harvey Keitel combined with the support of studios such as TriStar, Tarantino is not a complete independent film maker. Tarantino’s visual aesthetic and style is not dominant and does not adhere to the mainstream format that Hollywood produces in the studio system with large companies such as Disney and Sony.
 
The art of the independent film maker as characterized by such as directors as Jim Jarmusch who rejected the Hollywood system and sought complete perfection of film making with increased speeds of film stock, large amounts of interior lighting and more focus on characters as explained by Jim Hillier (2000) who outlines the functions of independent cinema, “the art of independent cinema is the relationship between the film makers and the product, Quentin Tarantino’s style and themes of Hong Kong action cinema, comic book, pop culture and violence is not film making which is inherent to independent film making, his legacy has contributed to both independent and mainstream cinema and incorporated various different genres across a large period of history, Tarantino succeeded in creating and developing a style that has surpassed the irony and pastiche of post modernist mass consumerism and invited the viewer to see mass violence and step into his world of unconventional narrative forms. “ (page 29) In conclusion of Jim Hillier’s quote it is evident that  Independent film makers in the 1970’s which included Martin Scorsese and Steven Spielberg were cineliterate but Tarantino is literate across a wide range of genres and historical periods, his ideologies for films have been independently driven with a mix of mainstream, art house, grind house, Asian cinema and spaghetti westerns. Tarantino’s celebrity status and all encompassing enthusiasm for film making has reinforced his persona as an auteur, the recurrent use of actors within his films including Samuel L Jackson, Harvey Keitel and Michael Madsen and his Grindhouse film Kill Bill which features Hong Kong cinema which has been adapted to Hollywood, low budget format which is common in independent cinema and use of pumping soundtrack with stylized lashings of blood.
 
To conclude it is evident that Quentin Tarantino possesses a distinctive visual signification within his films and has confronted a wide array of topics which have established him as a successful independent film maker who also creates films for mainstream markets. Quentin Tarantino’s impact and influence of Hollywood film makers has been significant as his ability to create films which audiences are connected to is a huge aspect of his persona and he has reinvented auteur through his relationship with the media and the public.
 
Bibliography:
Bernard, J - 1995 - Quentin Tarantino:  Man and his Movies - Harper Perennial.
Grant, B - 2008 - Auteur and Authorship - Wiley and Blackwell.
Green, R - 2013 - Quentin Tarantino filmic codes - Open court publishing’s.
Hillier, J - 2000 - American Independent cinema - BFI publishing’s.
Page, E - 2005 - Quintessential Tarantino - Marian Boyers.
Peary, G - 1998 - Interview by Gerald Peary - UP Michigan.