Popularity and gameplay victory

Rating: 10/10 (16 April 2020)

The postmodern discourse of the film, because it is in the post-industrial society era, is driven by the commercialization of the consumer society, thus embodying commercial, game, and popular colors. Jameson pointed out that the old (essentially advanced modernist) boundary between the advanced culture and the so-called popular culture or business culture has been abolished, and new texts have emerged that are full of forms, categories and contents of cultural industries. Bourdieu believes that the film has got rid of the shackles of classic art and has become a popular culture or a postmodern culture and has become a cultural capital. The purity of aesthetics and the self-discipline of art have been impacted. The tower of pure aesthetic ivory has collapsed under the impact of popular art and its aesthetics. The ensuing is the appearance of popular aesthetics, and it has increasingly gained its own aesthetic legitimacy.
Attracting audiences with popular themes, flattening the depth, everything is flat, this is what distinguishes the serious attitude of postmodernism from modernism. The result is to give the audience leisure, fashion, relaxation, surprise, and no tears. Violence, crime, sex and other generally considered vulgar themes are the themes of postmodern movies. Especially in terms of violent style, Tarantino became a single family. Violence has always been the unshakable theme of Quentin's works, and formed his black violence aesthetics. Violence is bloody, cold, game, and does not carry any moral and political responsibilities.
"Pulp Fiction" thoroughly stylized and gamified violence. It makes the audience realize that at this moment, you are watching movies for entertainment, so Tarentino will turn violence into joke, sex into joke, politics into joke, and history into joke. It does not ask about the meaning, does not reflect, does not touch politics, not to mention resistance. The "Bible" quotes before Jules' killing were not intended to legitimize his murder. Similarly, the scene of Mia's overdose did not have any intention of exhorting drug addicts. "Black" has also been treated as a piece of joke. Both Vincent and Jules drove around the city in a car full of brains and blood. In order not to let the police find it, but also in order not to add trouble to their friends, they had to do it within 40 minutes. Cleaning the car is a very technical task, so that they have to hire a special problem-solving expert from the headquarters to guide them in their work. When the two big-hearted men finally washed themselves and the car Afterwards, while wearing two exaggerated and somewhat funny T-shirts standing in front of the camera, a scene full of blood and terror was transformed into a humorous sketch, and the popularity and gameplay are most vividly displayed here. So some people say: "Pulp Fiction" completed the transformation of violent movies from modernity to post-modernity, showing that post-modern violent movies have completely lost the power of social criticism, the depth and the profound connection between old movies and the real world. No longer carries the meaning of cultural symbols such as national mythology, heroism, social resistance, political complaints, etc. Some other similar cultural commitments are also taken out, leaving only the image itself. "And the frequent scenes of violence in the film are echoing Its "circular structure" clearly states that the occurrence of violence is cyclical and never stops. "Pulp Fiction" tells us: In life, violence, including wars and boxing, is omnipresent. There is no justice in life and death, right or wrong in front of it.
Although Quentin Tarantino has never talked about postmodernism, he knows its essence. He seems to tell us that life in the 20th century is developing rapidly, changing fast and worthless. No one is immune. No matter whether life or death is unreasonable and fair Is a "vulgar novel", and this is where the subversive power of postmodern cinema aesthetics lies.