The document discusses various cinematography, editing, sound, mise-en-scene, and narrative techniques used in the opening sequence of Pulp Fiction. It analyzes how the techniques like shot types, lighting, music, and location create tension and immerse the audience. It also examines how the nonlinear narrative structure became a unique selling point that intrigued audiences.

2. CINEMATOGRAPHY
• The opening sequence starts with a still mid shot of a dictionary definition of the word pulp, written in the font of a dictionary. It is
comprehensiblehere that the second definition is the one that Quentin Tarantino wants to implant into the audience using the cultivation
theory, in order to keep it in mind throughout the film. By using this, the audience can grasp more connotations from the film and link it
back to the opening scene violence in the opening. This makes the gangster genre much more alluring to the audience. The film begins
with a wide shot of two individuals talking in cafe. This could be considered an establishing shot to inform the audience of the scene is
about to take place. The camerais positioned at the left, making the audience feel as though they are at the table involved in the
conversation with the pair. The shot changes to a close up from a low angle of the waitress asking the pair if they would like more coffee.
This angle creates a sense that we as the audience are still sitting at the table and as though the waitress is directlyaddressing us, thus
creating a sense of realism. The cinematography for the majority of the opening sequence is very basic, cutting from one simple wide
shot to over the shoulder shots, to close up shots, this is to show the calm simplicity of the conversation taking place. This deepens the
audiences understanding of the characters, the simplicity of the shot juxtaposes the violent robberythat they are discussing, helping us
to understand the sociopathic tendencies that they are displaying. The shot types only begin to change when the characters begin to hold
up the cafe at gunpoint. After this point the angle changes to a high angle to signify the change in tempo of the movie. This is conventional
of the genre.

3. CINEMATOGRAPHY
• Similarly to the previous frames, this frame is not following the conventions that would usually feature in a gangster
genre movie. The unchanged two characters are acting like a couple to each other, whilst talking about illegal
operations such as robbery of banks. This conforms to Levi-Strauss theory of binary oppositions as there are two
conflicting elements to this scene (good vs. Bad) and this contains significance as the audience start to wonder what is
going to occur. At this stage, the audience continue to speculate whether anything of dramatic is about to occur. Deep
into the current conversation, the male disrupts the secure and calm atmosphere by administering the idea of robbing
the cafe they are situated in (Todorov’s equilibrium). This instigates the physical movement of the camera as it slowly
pans around whilst zooming into the characters at the same time. This is to ultimately build some tension in this scene,
as a result, we get to see a portrayal of stereotypical gangster behaviour and the audience is now led on to expect more
things to happen due to the apparent tension and exhilaration.

4. EDITING
The editing used in the opening scene is slow paced as we view the two characters holding a conversation. This is to match
the flow of the conversation and the general feeling of the characters in the scene. The director wanted to show the calm,
sociopathic tendencies of the characters through cinematography but this is further cemented by the style of editing
which has been chosen. It is not until the robbery begins and the mood of the characters changes do we see a change in
the pace of editing. The cuts become fast and transitions are used to imitate the robbery that is about to take place. From
this the audience get a real sense of how the people in the café may be feeling. They can see how the erratic behavior of the
main characters would effect those directly involved.

5. SOUND
• The sound featuredin the opening sequence creates meaning through the language and dialogue used by the characters. The way in
which the characters address each other helps the audience to understand the relationship. The use of kind, soft language shows the
feelings which the characters have for each other, despite the action that is about to take place the audience are able to see how they
engage with one another, adding depth to their characters.Levi-Strauss theory of binary oppositions can be applied here, the change in
tone and language from the moment the robbery begins shows the two types of characters that each of them play, (good vs evil). Once the
robberybegins the use of profanity becomes very apparent and the characters begin to scream at the diners. The evokes fear in the
audience creating realism and allowing them to feel how the diners would feel. The kind, caring conversation has now been juxtaposed
by screaming profanitythus resulting in clear characterdevelopment.
• As the scene changes tempo and the robbery begins a fast paced,up-beat song starts to play. The use of non-diegetic sound here really
helps the audience to understand the carnage which is about to take place.

6. MISE EN SCENE
• The mise-en-scene in this opening is extremely beneficial in creating meaning for the audience. The fact that the robberytakes place in a
run down diner that is clearly aimed at the working class shows the audience that the two characters about to conduct the robberyare
not big time criminals. This location choice also creates a sense realism to the audience, as the targetaudience for the film are working
class people. Tarnation's amazing techniques of mise en scene throughout is to engage the audience as much as possible with the
differentnarrative and visual techniques in order to express his films meaning. Another element of the mise-en-scene which is
significant here is the high-key lighting from the large windows behind them which may connote a blissful environment. Also, there is
only diegetic sound being exposed and this concludes that there is no suspense being generatedin this frame. Similarly to the previous
frames, this frame isn’t following the familiar gangster genre conventions here either. The unchanged two characters are acting like a
couple to each other, whilst talking about illegal operations such as robberyof banks. This ties in with the levi-strauss – binary
oppositions as there are two conflicting elements to this scene (good vs. Bad) and this contains significance as the audience ponder
what is going to occur subsequently.

7. MISE-EN-SCENE CONT.
• As the male continues to explain his atypical intentions, the female becomes increasingly captivated by what he has to
say. Furthermore, the lighting and sound are sustained throughout this part of the scene and it continues to advocate an
affable and cooling atmosphere. At this stage, the audience is mirroring this bizarre concept of a gangster movie, and
they continue to speculate whether anything of dramatic value will soon occur. Deep into the current conversation, the
male disrupts the secure and calm atmosphere by administering the idea of robbing the cafe they are situated in
(Todorovs equilibrium). This instigates the physical movement of the camera as it slowly pans around whilst zooming
into the characters at the same time. This is to ultimately build some tension in this scene, and the females friendly
approach to the situation has taken a fold; she is now ready and committed. As a result, we get to see a portrayal of
stereotypical gangster behaviour and the audience is now led on to expect more things to happen due to the apparent
tension and exhilaration. The use of gun prop really assure the audience of the violent scene which is about to unfold.

8. CONVENTIONS AND AUDIENCE
• There are many conventions which feature in the opening sequence. The first convention to mention is the hook the is featured in the first two
minutes of the opening. This is used by Tarnatino to really emphasise the desperation of these characters. Although they are presented aggressive
careless criminals, it is through the location that we see their desperation for money and their blatant disregard for the feelings of others. Using this
robbery scene which is later linked back to at the end of the narrative leaves the viewers questioning who these people are and what their role is in
the narrative, enticing them to continue watching. The credits also feature after the scene which is a main convention of opening sequences, by
placing the credits here a clear beginning to the film is established. The credits show the audience who the production company are, this is
important as it gives the film a sense of branding. There are also names of the cast and crew which feature, this is important as big stars feature in
the film and their names will also act as an enigma as the audience will be excited to see the characters which the stars are playing.
• The target audience for the film are males and females aged between 18-55. The violent nature of the content featured means that the audience must
be over 18 to view it. The gangster genre is more typically aimed at males so they would be considered the primary audience. However, the lead
female character of Mia Wallace would also appeal to females so they would be considered the secondary audience. Tarantino is also an extremely
widely respected director so the film would also be targeted at his fans, his style is instantly recognisable to audiences across the world.

9. NARRATIVE
• The narrative structures of Pulp Fiction are a main point of interest to audiences and film critics all over the globe. The film follows a non-
linear narrative form, with jumps in time featuredthroughout. Tarantino manages to do this in such a way the audience are easily able to
follow what is happening. Through the characters language, locations and costume the audience can easily identify the shifts in time.
The non-linear narrative is something that became a unique selling point of the film, it was a key discussion point for people when they
went to view the film which simultaneously acted as a marketing tool. There are three main separate but entwined narratives running
throughout the film and through these stories one main narrative is developed. Despite its fragmentedand unconventional narrative
chronology, pulp fiction fits four-part narrative structure which consists of; an exposition, a complicating action, a developmentand an
epilogue.