In Xavier Morales' review of Quentin Tarantino's Kill Bill: Volume 1, he calls the film "a groundbreaking aestheticization of violence". Morales says thatthe film, which he calls "easily one of the most violent movies ever made" ,  " a breathtaking landscape in which art and violence coalesce into one unforgettable aesthetic experience " . Morales argues that "... Tarantino manages to do precisely what Alex de Large was trying to do in Stanley Kubrick's A Clockwork Orange: he presents violence as a form of expressive art... in which the%DIFDELCMD < ]%%% ...violence is so physically graceful, visually dazzling and meticulously executed that our instinctual, emotional responses undermine any rational objections we may have. Theories and semiotic analysis
In Xavier Morales' review of Quentin Tarantino's Kill Bill: Volume 1, he calls the film "a groundbreaking aestheticization of violence". Morales argues that , similarly to " A Clockwork Orange " %DIFDELCMD < ]%%% , the film's use of aestheticized violence appeals to audiences as an aesthetic element, and thus subverts preconceptions of what is acceptable or entertaining. Theories and semiotic analysis
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says thatthe film, which he calls "easily one of the most violent movies ever made"
argues that
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similarly to
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a breathtaking landscape in which art and violence coalesce into one unforgettable aesthetic experience
A Clockwork Orange
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. Morales argues that "... Tarantino manages to do precisely what Alex de Large was trying to do in Stanley Kubrick's A Clockwork Orange: he presents violence as a form of expressive art...
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in which the
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...violence is so physically graceful, visually dazzling and meticulously executed that our instinctual, emotional responses undermine any rational objections we may have.
, the film's use of aestheticized violence appeals to audiences as an aesthetic element, and thus subverts preconceptions of what is acceptable or entertaining.