Schenography and Mise-en-scene in Pulp fiction-2020 PDF

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Scenography and mise-en-scene evaluation in Pulp fiction. Quentin Tarantinos way to reconstruct stylishly and artistically the film set, recalling the Theatrical influence...

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Mise-en-scene in Pulp Fiction

A notable thing about Pulp Fiction(1994) a film directed by Quentin Tarantino, is the way the scenes are constructed stylishly and artistically recalling the Theatrical influence. The constructed mise-en-scene with the use of exteriors sites, as identifiable neighbourhoods and recognizable sites, complements cinema´s theatrical heritage.1 The scene I will begin to talk about is at the end of the movie´s second act, when Vincent (Jhon Travolta) and Mia (Uma Turmann)return to Mia's home, after Vincent task to take out his boss Wallace(Ving Rhames) wife for the night. The charachters are walking towards home and the combination of their physical space with the blocking arrangement underlines the characters interactions.2 Vincent and Mia are playing against their sexual tension and the scene between seems to place an emphasis on that in addition to the unfolding of emotions involved in Mias nearly death. This dialogue is a close scene where the background is blocked by the walls of the building around, except for a small space behind Mia, who appears to be the main focus character of the shot. The blurred shape of Vincent back and shoulder de-emphasize his presence and underline the distance between the two characters, which are placed in the middle of this corridor of shadows. The corridor and night set create a space of ease after the intense drama experienced from the previous scene also lingering the terror from the before events, being so traumatic for both of them. The lightning in the scene are created with the accentuate mixture of low and high light keys unfolding the critical moment between the two commenting on the experience in a way that the narrative does not. 3 As a key factor for my next mis-en-scene examination is about a specific prop created for to be staged with the function of being part of the set or as objects used by the actor as ingredients for the cinematic experience. 4 The contest of my examination is defined by two contexts: on one side there is the everyday mise-en-scene with casual furniture and on the other the burden of a symbolic object. I will talk first about the overall scenario where Butch Coolidge(Bruce Willis) whit his girlfrend Fabienne (Maria de Medeiros Esteves) are in a hotel room. The mise en scene is staged with props fundamental for the actor's actions recalling a private space where the intimacy is created with few basic furniture: a TV, a lamp, a bed and a small bathroom . While Butch is sleeping the TV´s showing war images; Butch wakes up suddenly from an incubus astonished. The scene hold on with a dialogue between Butch and Fabienne when he realise that she has forgotten his watch at theirs where Wallace (Ving Rhames) vicarious are waiting for him. The symbolic weight of the missing object given to Butch from his father is drawing the scenario into a melancholic state. Butch decides almost instantly to go back to their apartment and find the important object 1 Timoty Corrigan and Patricia White, The film Experience: New Cinematic Realism, Boston New York 2009,page 101 2 Timoty Corrigan and Patricia White „Blocking“ Exploring a material world page 116-17 3 Timoty Corrigan and Patricia White“ Lightning“ Exploring the material world“page 111 4 Timoty Corrigan and Patricia White, „Props“ Exploring the material world pag 104-105

representing the mutual connection with his father braveness. In this scene Butch character and determination is underlined through this missing object and symbol. He rushes furiously out of the room promising his girlfriend that he will come back soon. Butch missing watch create the measure of how deep his identity is established by it underlining the symbolic connection with his father; conveying more meanings to us about his perosonality then the interactions between the two characters and the overall narratives.5

5 Timoty Corrigan and Patricia White „Mise-en-scene as Measureof Character“ Exploring the material world pag 120...