Publisher: Voyageur Press
Release Date: November 11, 2013
Pulp Fiction: The Complete Story of Quentin Tarantino’s Masterpiece by Jason Bailey is an extremely engaging work about what is probably Tarantino’s most popular film. The cover states that the book features “film stills and behind-the-scenes photos from the archives of Miramax and Quentin Tarantino.” While these photos are forthcoming, the book is instead mostly made up of Pulp Fiction inspired pop art. One shouldn’t consider this a flaw. On the contrary, the fan art contained in these pages is a testimony to the film’s impact upon pop culture. Since Tarantino’s film was heavily influenced by pop culture, the cycle seems to be complete.
What is even more pleasing is Bailey’s lucid text, which is comprehensive and enlightening without becoming mere dry commentary. Pretension is kept to a bare minimum as he discusses the creation of this influential film, and the impact that it has had upon contemporary cinema. In addition to Bailey’s text, there are a number of essays contained in this volume that cover everything from the history of Pulp literature (“Putting the Pulp in Pulp” by Adam Rosen, the film’s structure (“Pulp Fiction’s Modern Classical Structure” by Kevin Howley), the film’s eclectic music (“Pulp Music” by Gary Graff), the history of the F-bomb (“Pulp Fiction and the F-Word” by Mark Peters), and Tarantino’s blaxploitation influences (“Pulp Fiction and the Black Cool” by Alisha Harris). There is even a chart that puts each scene in chronological order! Tarantino fans should certainly clear a place for this book on their shelves. However, cinemaphiles should be aware that the book is extremely difficult to put down!
Review by: Devon Powell
Publisher: Bloomsbury Academic
Release Date: March 15, 2007
J.J. Murphy’s Me and You and Memento and Fargo: How Independent Screenplays Work is a study of the screenplay structure used in twelve successful independent films (Stranger than Paradise, Safe, Fargo, Trust, Gas Food Lodging, Me and You and Everyone We Know, Reservoir Dogs, Elephant, Memento, Mulholland Drive, Gummo, and Slacker). Murphy compares the structure of these films to the ‘traditional’ three act paradigm that is taught in the manuals. Syd Field, Linda Seger, Robert McKee, and other notable manual writers are discussed and quoted at length. Murphy often does this in order to compare the structure of these independent films to traditional structure that is taught by screenwriting manuals. These quotes are often associated with the films discussed in the book, but while the manuals tend to explain why these diversions from typical structural paradigms are a mistake, Murphy argues that these diversions are actually responsible for the success of the film. Murphy claims that these unusual diversions from the structure taught in manuals subvert audience expectations in original ways (and actually add resonance to the themes covered in these films).
While this book isn’t a screenwriting manual, it has the potential to serve future scriptwriters by validating the desire to digress from traditional paradigms. It makes a nice companion to the more rigid manuals on the market. This text will also be of interest to fans of the various films discussed in these pages. Before reading Murphy’s book, this reviewer had only seen seven of the twelve films discussed. It created a strong desire to watch the other five films, and managed to raise my appreciation for the seven films that I had previously seen.
Review by: Devon Powell