Perspectives: Thesis OGR

Perspectives: Cone of Congency

Chapter 1:

The first chapter is going to broadly outline what I intend to cover during the dissertation, then move on to outlining the theory of capitalism, consumerism and Marxist theory and them moving onto the idea of what art is.

Consumerism: As a way of life -  Steven Miles

Postmodern Culture edited by Hal Foster

Post-modernism and Consumer Society - Fredrich Jamerson

Americana Style a la Mode Retro: Post Modern Pastiche Between Culture and Commodity

Post-Marxist Theory - An Introduction - Philip Goldstein 

Politics and Ideology in Marxist Theory - Capitalism, Fascism, Populism - Ernesto Laclau

Conceptual Art A&I (Art and Ideas) by Tony Godfrey

Avant-Garde and Kitsch Clement Greenberg

Chapter 2:

To delve into the art theory is and argue the case of the avant-garde of animation, to underpin what kitsch is, define what Dada is and its place retrospectively in art theory, moving on to the end of art theory and how it is not up to the author to create meaning in art and instead how it is how the observer gains meaning from it instead. This then leads on to auteur theory and once something into the public domain is it still the property of the author. Then use Andy Warhol's Campbells Soup as a point to explain visually an example of modern art.
     

Dada, Surrealism, and Their Heritage by William S.Rubin 

The End of Art Theory: Criticism and Postmodernity by Victor Burgin

Hitchcock's Films by Robin Wood

IDEOLOGY, GENRE, AUTEUR by Robin Wood

Truffaut on Cinema - Compiled by Anne Gillain

Andy Warhol - Campbells soup 

Chapter 3:

Fowlkes, I. (2009). Americana Style a la Mode Retro: Postmodern Pastiche Between Culture and Commodity.

I intend to explore theoretical frameworks of capitalism, consumerism and Marxism, I 

Will move on to discussing the pastiche between culture and commodity in Americana 

Style a la Mode Retro 

Perspectives: Proposal mind Mapping

21st Century Western Animation and Capitalism

Disney - has an upper hand compared to independent companies for example.

the lone ranger remake with jonny depp - capitalism in the old westerns? are they in now?

also the - so many something, films, something, using it

parody

Bee Movie (2007)

Antz as a critique of large slavery under capitalism

endless remakes with little difference

the emoji movie

kung fu panda

wolf of wall street

inside out - reducing storyline + more exploration of characters - stretching out very little plot

Art House/ Non-Profit animation

sequals of popular animations

communist animation, DC animated universe (DCAU), Wreck it Ralph, Incredibles, family guy, toy story, the simpsons, zootopia, monsters Inc, WALL-E

Clint Eastwood

Nostalgia built, reconnecting with old fans to get more money

stranger things, black mirror, bandersnatch, 80's nostalgia

the use of animation/film to blind the working class from their exploitation

marx + althesser

post-capitalism

consumer
(product)

commodity culture

I shop therefore I am - Barbara Kruger artist (slogan)

References Dercarter

I think therefore I am

Perspectives: AI Defense

Bibliography:

Boden, M. (1996). The philosophy of artificial life. Oxford: Oxford University Press.

Polson, N. and Scott, J. (2018). AIQ. London: Transworld, p.76.

Tegmark, M. (2017). Life 3.0. [London]: Penguin Books, p.101.

Perspective Film Review Links for Assessment (2018)

All Perspectives Film Reviews

All Film Reviews following the Perspectives Lecture Series

The Truman Show (1998)

Dancer in the Dark (2000)

Funny Games (2007)

Scream (1996)

Mulholland Drive (2001)

Inception (2010)

Kill Bill Vol. 1

Perspectives: Post-Modernism in The Truman Show (1998)

Figure 1 - The Truman Show - Film Poster

The Truman show is filmed with the theme of post-modernity and what that stands for in mind. The film is a film about a tv show set inside a giant dome housing the star who lives inside. The main character of Truman played by Jim Carrey is blissfully unaware of anything other than his quant existence in this perfect town. 

The show is controlled from the moon which is a live footage editing/control room where the character of the director Christof played by Ed Harris weives every single day of Truman's life. There is a theme of multi-layering which occurs through control, Peter Weir (Director) directs Christof who directs Truman who is merely a pawn to be spied on for entertainment purposes.

The majority of the film gets broken through the fourth wall with a continuous cutting to audiences watching the Truman show in various places, a bar, a household bath, a security booth. The audience is interviewed by someone that we never know, for a purpose we never find out. The theme creates a relationship with the film audience allowing us to empathise more with the world creates to watch the Truman Show.  

Figure 2 - The Truman Show - Truman notices imperfections

   

The Twist comes in the film in various ways, it is arguable that the show's downfall is brought on slowly and builds up over time. Truman slowly begins to notice impurities in the Idyllic world which he lives, one of the first things is when he enters a building and sees a portion of wall is missing and workers and having lunch, when they realise the star of the show is staring them out they hurridly jump up and the security whisks Truman out of the building. The idea of confronting social norms begins to destabilize the tv show which begins to cause disruption in the viewing eventually the director calls every inhabitant of the town to perform a sweep of the dome in order to find Truman, when he is eventually discovered in a boat after confronting his deepest fears of his reality, the director manically tries to capsize his boat and end the main characters life. Not even God can halt the progression of a determined Truman seeking the holy grail of knowledge. 

Figure 3 - The Truman Show - Ascent to the exit

The film ultimately ends where Truman is given the option to stay inside an Idyllic reality as the biggest fish in a small pond and go on with his head in the sand or he can leave, and stop being forced to conform to a standard chosen for him. We desperately wish to know what happens after but it is arguably better to allow our own minds to finish the story which beautifully sums up the entire idea of the film which is a line for line the idea of modernity and by extension post-modernity. The film is about reevaluating our ideas of reality and consciously striving to create our own truths to fit with our own ideology of how we live, this closely follows the ideas of post-modernity.    

Illustrations:

Figure 1: The Truman Show (1998) [Film Poste] - Peter Wier: Paramount Pictures, Scott Rudin Productions

Figure 2: The Truman Show (1998) [Film Still] - Peter Wier: Paramount Pictures, Scott Rudin Productions

Figure 3: The Truman Show (1998) [Film Still] - Peter Wier: Paramount Pictures, Scott Rudin Productions

Perspectives: Post-modernism in Dancer in the Dark (2000)

 Figure 1: Dancer in the Dark (2000) - Film Poster

Dancer in the dark by Lars Von Trier is considered an example of a post-modern film for multiple reasons. It is the story of a struggling mother desperately doing all she can for her son to have a better life. 

Lars Von Trier has used multiple themes to confront the ideas of the traditional film, the first and foremost is the concepts of musicals. A beloved thing in Hollywood history is the 'musical', a production brimming with song and dance, common tropes of this show incredibly happy people. Positivity and optimism go hand in hand and the films always end in a good wholesome outcome. Dancer in the dark instantly challenges this notion. Bjork who plays the main character Selma is flitting between the musical fantasy of her mind and the cold harsh reality. The choreographed scenes are crafted out of the moment, and happen in depressing environments like courtrooms, factories and notoriously, on the long mile to the execution chamber. The film ends with the sound of Bjork slipping into one of her musical episodes and the sudden sound of her neck breaking as she is dropped through the gallows; a very un-hollywood, musical ending.      

 Figure 2: Dancer in the Dark (2000) - Musical in Factory

A handheld camera films the entire film as if we 'the audience' were following Stella around like a friend, or onlooker. It confronts the ideas of traditional filmmaking with a static camera, it also goes a long way to creating the division between the two worlds, the reality, and Stellas musical episodes. During these, a static camera is used in order to give the scenes a more theatrical feel, instead of watching from the point of view of a person in the situation you are instead the audience of a production.  

 Figure 3: Dancer in the Dark (2000) - Courtroom drama

Shots are filmed in a very mundane way, much of the theatrics are shot almost as if they are security cameras, even though we are watching a theatrical production it is almost as if we are sitting behind the security terminal in the control room watching it from a distance.    

There isn't much of a clear timeline during the film, it lends a warping perspective to the character of Stella, possibly a window into her mind. The scenes could be placed around and it wouldn't make much of a difference to the flow of the narrative. 

Illustration: 

Figure 1: Dancer in the Dark (2000) [film poster] - Lars Von Trier: Zentropa Entertainments,  Trust Film svenska

Figure 2: Dancer in the Dark (2000) [film still] - Lars Von Trier: Zentropa Entertainments,  Trust Film svenska

Figure 3: Dancer in the Dark (2000) [film still] - Lars Von Trier: Zentropa Entertainments,  Trust Film svenska

Perspectives: Post-modernism in Funny Games U.S (2007)

Figure 1 - Funny Games (2007) - Film Poster

Funny games used diegetic sound to bring the notion of a blur between reality and fantasy to the forefront of the audience, the song 'bonehead' is played over the opening scenes during the period of time the main characters, (the wife - Naomi Watts, the husband - Tim Roth, and their son Devon Gearhart) are listening to classical music, they cannot hear it and are enjoying their own music, the audience, on the other hand, is barraged by an extremely violent tune, an ill omen for what is about to unfold, the same song is later played by the murderers to the family meaning something that happened in the interior of the film also happened in the post-production editing in the exterior of the film.    

Repetition is used as a recurrent theme during the film, during the opening we see the main family talking to a couple who are due to play golf with them later that day. The reply of the couple is unnerved and distant as if something is distracting them, we can see two figures standing with them, we later find out these two are the murderers; the murderers visit the main family and proceed to torture them eventually killing them, before moving on again to the next family on the next plot at the lake. Conversations repeat themselves and phrases are highly repetitive for example the constant back and forth between the two murderers, the dominant Paul (Michael Pitt) constantly remarking on the weight of the sidekick Peter (Bradly Corbet). 

The director (Michael Haneke) used a technique which completely breaks the barrier between reality and fantasy during the moment when the wife picks up the shotgun and kills Peter and Paul remarks that it wasn't supposed to happen like that so finds a remote under a pillow and rewinds a portion of the film, in the film to a point before the shooting, this time around he grabs the shotgun before she can kill Peter and proceeds to shoot the husband on the ground, its at this moment you really begin to realize there isn't a hope for the family to survive, especially since the murderers have supernatural abilities to change the film mid-flow. 

Figure 2 - Funny Games (2007) - Film Still - Peter looks into camera

 There are moments throughout the film where Peter talks directly to the camera, speaking directly to the audience, involving them in the film to again use the theme of blurring the walls between reality and fantasy. Finally, at the end of the film in the boat before the sequence repeats, Peter and Paul strike up a conversation about a character stuck between reality and fiction, the conversation reiterates the events and themes around breaking the forth-wall to the audience, it is a conversation which forces the audience to re-evaluate what they are watching. 

Figure 3 - Funny Games (2007) - Film Still - blood splattered television set

Finally, the directors' script appears much more geared to dealing with more mundane events in life, instead of murder, violence and chase scenes even though the film is entirely about the torture and murder of an innocent family. For example, Haneke chooses to focus on Peter making himself a sandwich instead of the obscenely brutal murder of Georgie in front of his parents, even when he returns Haneke is more geared towards showing a blood-splattered television set instead of a body.

Illustrations:

Figure 1: Funny Games (2007) [Film Poster] - Michael Haneke: Celluloid Dreams, Halycon Pictures, Tartan Films.

Figure 2: Funny Games (2007) [Film Still] - Michael Haneke: Celluloid Dreams, Halycon Pictures, Tartan Films.

Figure 3: Funny Games (2007) [Film Still] - Michael Haneke: Celluloid Dreams, Halycon Pictures, Tartan Films.

Perspectives: Post-modernism in Scream (1996)

Figure 1 - Scream (1996) - Movie Poster

Scream (1996) directed by Wes Craven is considered a post-modern movie, there are lots of reality breaking tropes which Craven has planted into the film to create a sense of realisation for what we are really watching, which is essentially a group of teenagers centralising their lives around the ideas of horror movies, inside a horror movie, there are levels to the characters which are ironic and non-traditional. The Characters constantly make references to horror movies, the villains/ monsters and the methods of which they kill. Casey played by Drew Barrymore spends the opening scenes talking to her killer on the phone about her favourite horror films, which in a way glorifies them, she talks about Freddy Kruger murdering people with knives, which is a grim spectre of her own fate.  

Figure 2 - Scream (1996) - Adolescent group watching 'Halloween' 

The shot above is set out like the 'Last Supper by Leonardo Di Vinci' there are only 11 people in the image, 2 of which have left to converse in the upstairs bedroom.  

Randy played by Jamie Kennedy works in a movie store, a movie which features movies, there is already the idea of layers here, it begins to multiply when the character begins to run off the rules of Survival of a horror movie to his friends in his living room. There is a duality to his speech in this segment of the film. He mentions his first rule, which is "1# Don't have sex", the moment in which he says this it instantly cuts to the beginning of Sydney Prescott played by Neve Campbell and Billy Loomis played by Skeet Ulrich about to engage in love making for the first time; Randy then mentions whilst watching the horror film which his friends downstairs that there is going to be an "Obligatory breast scene" in the film like its a classic thing, this is cut straight to a tandem shot of Sydney taking her top off for Billy upstairs. Its important to realise that Craven is deliberately juxtaposing these noninflected shots to wake the audience up to the reality they are watching a horror film, he is saying 'these films which the group is watching are horror films, the exact same things are happening in the environment of the characters' this makes it all the more tense when we realise the characters are all asleep to the fact they are occupying a horror movie.  

Another representation which depicts this idea of levels in film is depicted directly after the race to the climax begins, where the killer begins their spree in the house at the end. Again Randy is the man delivering the scene, he receives a call with the news of his school principle being found hanging from the 'Football' posts at the school to which the other guests rush off to go see. This leaves Randy alone in the living room watching 'Halloween' where the killer once again is a knife wielding maniac. Randy begins to speak to the actress on the screen, he shouts things like "he's right behind you!" and "just turn around!" at the moments this is going on, the scream killer is doing the exact same behind Randy in tandem with the film, it is as if he is talking to himself bringing his reaction in line with the ideas of post-modern reflection. This is then taken further by the News van operative watching the camera feed of the living room on a 30 second delay. The camera man comments exactly the same, but seemingly as he begins to realise its not a movie he is murdered, almost is if waking up to reality will bring out your fate.   

Figure 3 - Scream (1996) - Billy and Stuart confronting Sydney

The killer for Scream is based on the idea of lots of different horror movies, when you find out the killer is in fact Psychotic duo Billy and Stuart played by Matthew Lillard they admit they have figured out how to commit the perfect clime where they frame the suspected father of Sydney, whose wife was raped and murdered a year ago to the day. Their characters are slightly crazy throughout the film and look very suspicious, traditionally suspicious people tend to be innocent, a trope used to in-bide an unreliable narration into film, however the sinister way they are perceived in shot turns out to be right on the money. It turned out the people we thought couldn't possibly be the bad guys, turn out to actually be the bad guys.  

Illustrations:

Figure 1: Scream (1996) [Film Poster] - Wes Craven: Dimension Films,Woods Entertainment

Figure 2: Scream (1996) [Film] - Wes Craven: Dimension Films,Woods Entertainment

Figure 3: Scream (1996) [Film] - Wes Craven: Dimension Films,Woods Entertainment

Perspectives: Post-modernism in Non-Linear Film - Mulholland Drive (2001)

Figure 1 - Mulholland Drive - Film Poster

Mulholland Drive directed by David Lynch is an incredibly cerebral film, it is criticised for needing a lot of concentration in order to just watch it, Non-linear story telling is a key feature of the production and contributes to an element of post-modernism in the film. Mulholland drive doesn't have a generic story time scale where it goes start, middle then end, instead its seemingly erratic as it jumps through time in order to give a perspective to the audience, this technique works well here on the audience to give us a shared feeling of isolation, confusion and great foreboding with which we can empathise with the characters "it explores an internal reality through the eyes of an individual whose point of view is altered by mental illness or substances" (Lee, 2018). This is often referred to as an 'altered state'. 

Figure 2 - Mulholland Drive - Diner 

Due to an altered state it becomes very apparent some way into the film that the concept of 'the unreliable narrator' is happening. Due to the story being told in an altered state, we find out it is shot from the perspective of one individual, this means we see exactly what they perceive, usually in film we are likely to see noninflected shots juxtaposed in order to give us a sense of meaning, we cannot trust what the shot tells us because it isn't accurate to what is actually happening. 

Figure 3 - Mulholland Drive - Reflections

The film takes place over a period of weeks, the non-linear story telling provides the opportunity for  flash backs to fill us in on important information in a way which isn't damaging to the flow of the film. Scenes which are a week apart are put back to back in order to give the audience an altered meaning of the event or character. It is arguable the film is heavily surrealist because it plays as a psychologically lucid dream until the end, each shot is put together with something seemingly unrelated much like unintelligible dreamscapes much like 'Un Chien Andalou' by Luis Benuel and Salvador Dali where not all aspects of the film which you see emphasised aren't significant to the plot, arguably leaving the audience with questions and confusion.    

Illustrations:

Figure 1: Mulholland Drive [film poster] - David Lynch:  Les Films Alain Sarde, Asymmetrical Productions, Babbo Inc.

Figure 2: Mulholland Drive [film] - David Lynch:  Les Films Alain Sarde, Asymmetrical Productions, Babbo Inc.

Figure 3: Mulholland Drive [film] - David Lynch:  Les Films Alain Sarde, Asymmetrical Productions, Babbo Inc.

Bibliography:

Lee, J. (2018). Post Modern Film explained by David Lynch’s Mulholland Drive. [online] Journal Absurdo. Available at: https://journalabsurdo.wordpress.com/2014/05/14/post-modern-film-explained-by-david-lynchs-mulholland-drive/ [Accessed 23 Oct. 2018].

Perspectives - Post-Modernism in Inception (2010)

Figure 1: Inception - Film Poster  

Inception is the idea that you can plant an idea in an individuals mind to manipulate them into subconsciously doing something. When looking deeper into the narrative going on in the background you realise the techniques which Nolan uses to post-modernise the film. Post-modernism is about reflection, striving to find new ways to perceive the world. One of the ways Nolan does this throughout the film is through the narration of story telling, he weaves a story about plotting a story, his narrative explains the journey of a group who come up with a story which is then implanted in the mind of the character Robert Fischer, the narrative is already multi-layered in that regard, it then again layers itself with the concept of multi-layering of dreamscapes in a way to physically represent and reinforce this conscious creation of depth; the technique constantly forces the audience to assess their perception of depth, and if they can take the story at face value because the narrator is unreliable.

    

Figure 2: Inception - Limbo Structuralist Destruction 

The Scene in which the character of Cobb travels to the dreamscape of Limbo is significant because of what it represents. In Figure 2 you can see in the background replicated buildings, their design derives from structuralist architecture, which is built specifically to be functional, every aspect has been made irreducible to its purest form. The choice Nolan makes of creating a dreamscape where these structures are collapsing is arguably metaphoric because he is comparing this to the death of the theories of structuralism, the ideas which structuralism dictates as universal truths, for examples set by the unreliable narrator: that the idea Cobb will never leave Limbo, and that inception isn't possible, are being eroded with time, post-structuralism and modernism.  

Nolan uses sound to give another sensory feeling to the film too, using modern technology to manipulate the song "je ne regrette rien" by Edith  Piaf-Non so that it is slowed down to give the audience a perception of time manipulation and being overlaid over the original to make them sound like the same track, this technique is only possible with modern technology, and rethinks how we interpret the 4th dimension through sound.    

Finally the final scene is controversial in film because of the way it ends, linear story telling dictates a story/film to go start > middle > end, this is a traditional way of telling a story, Nolan creates the final scene where the spinning top is left spinning in order to create a cliff-hanger, in other words he completely removes an 'end', and suggests Cobb is still in a dream world, this finally also adds to the notion of the unreliable narrator because you are led to believe one thing, then are forced one last time to reevaluate your perception of the events you've just watched.  

Figure 3: Inception - Cliff-Hanger Final Scene

Illustrations:

Figure 1: Inception [Film Poster] - Christopher Nolan: Warner Bros, Legendary Entertainment
Figure 2: Inception [Film] - Christopher Nolan: Warner Bros, Legendary Entertainment
Figure 3: Inception [Film] - Christopher Nolan: Warner Bros, Legendary Entertainment

Perspectives: Terminology

When studying postmodernism in film it is important to understand common terminology used in the area in order to have a better understanding of the subject. below are a list with relative definitions to the theories of modernity, post modernity, structuralism and post structuralism.

Eclectic Nostalgia: the term eclectic means to range widely, to have a large base from which to draw knowledge, nostalgia is the wistfulness to return to a previous state of being, a homesickness. Eclectic nostalgia in postmodernism is the conscious desire to draw from things of the past to rethink how we read a subject of our time 

Aleatory: refers to the denotation of randomness.

Bricolage: seems to to a similar concept to something eclectic, a bricolage construction is made of many different things.

Pastiche: the imitation of another artists work.

Flippant: to not be serious or respectful.

Fabulation: term coined by Robert Scholes referring to the large amount of magical realism novels in the 20th century.

Simulacra: to represent something or something unsatisfactorily.

Fragmentary: shattered, broken, not as one whole but of different segments.

Superabundance: referring to something which is everywhere is great amounts.

High modernism: popular in 1950-1960 it dictates a striving for confidence in science and technology to reorder society and the natural world.

Capitalist: society which believes in private property and driving profit of money.

The enlightenment project: a period of time which humans began to story holding so much faith in religion and myth and began to question the natural order and reason of everything around them, it was a time of great categorisation of flora, fauna and everything outside these.

Modernity: the conscious effort to find new ways in which to perceive and view the way the world is.

Irreducible: something that cannot be broken down any further, the smallest value of something.

Structuralism: a term used to name theories and philosophies associated with finding universal,  fundamental and completely irreducible truths about how the world works. 

Ahistorical: a term used to describe something that sits outside of history, something that has always been and always will be.

Objective: a judgement which is uninfluenced by personal feeling or opinion.

Universal: something that is true across all things or over an entire subject.

Definitive: the final version of something.

Post-Structuralism: a term given to name theories and philosophies relating to confronting the authority of structuralist theories.

Reflexivity: a state of creation and destruction, when something has an impact on a subject but the subject also continually influences its creator in cycles. 

'The Unreliable Narrator': the term was coined in 1961 by Wayne C. Booth, it refers to a characters story which is untrustworthy, a tale which cannot be taken at face value. It is used to create plot twists, emphasis character alignment in a higher plot. It is used in a way as to not tell as story objectively, in order to make the audience perceive the story in a specific tone. 

Perspectives - Post-modernism in Kill Bill (2003)

Quentin Tarantino is considered a post-modern auteur in film, he uses many techniques to convey this during his work. Kill Bill is iconic across the world, critically acclaimed and massively popular. To understand how Tarantino is post-modern it is important to first know how post-modernism portrays itself in society and in the art of what we create. Modernism was the idea of consciously trying to discover new varieties of viewing the world. For Example, questioning why things are done a certain way and trying to improve them as in architecture, during the modern period, it was considered modern to build a house which didn't look like a house. Modern art strives to question and criticise what art really is resulting in  unique and interesting variations of what their creators call art. 

Figure 1 - Traditional house design

Figure 2 - modern house design

Tarantino used Non-Linear Narrative in a way to challenge traditional story telling where it starts at the beginning, goes to the middle and then ends with the end. instead he constantly jumps back and forth to make sure the audience remains guessing throughout, the benefit of a non-linear narrative is that he can tell the story in a way which gives the audience knowledge exactly when they need it from any period of time in the chronology of the story.        

Tarantino pays homage to various other film legends and techniques as mentioned by Groth on Tarantino as an Auteur "Tarantino regurgitates his favourite clichés and formulas, sometimes with a wink, sometimes with a straight face, sometimes with wit, but always with an unconditional love for the clichés" (Groth, 1995) originally influenced by Grindhouse Cinema, jumping from Japanese anime, to samurai to mariachi bands, references to Jet Li, and capitalism and various metaphors surrounding that, Howard remarks "consider it from a postmodernist perspective, you have to consider the anxieties that come with globalisation" (Howard, 2017) for example in the scene Lucy Liu decapitates the mob bosses head at her function for remarking on a change in tradition, a symbol of silencing opposition from those who disapprove.

Figure 3 - Kill Bill [film] - Lucy Lui 

The use of violence as an art form or as a celebration breaks tradition in the sense it is very graphic and is arguably avant garde practice because it pushes the boundaries of what the audience is expecting and used to, Tarantino is consciously trying to shock the audience which would be considered post-modern, resulting in something unpleasant for the audience, this is no more prominent than in the Japanese restaurant fight scene where people have blood spraying from their limbs like jet streams, blood covering every surface and blade penetrations clearly visible for the audience to observe.    

Figure 4 - Kill Bill [film] - Fight Scene

Tarantino uses an entirely new mode of media included in the film too in the form of Japanese anime cartoons to inspire a kinship to graphic novels pushing the boundaries of film to post-modernism by suggesting film doesn't necessarily have to contain only one form of media. This technique also helps because it allows for an extremely graphic scene which couldn't be shot in live action because of its extreme violence and subject of paedophilia. An audience will find the experience of the drawn cartoon duller and less discomforting in this form instead of live action because it is harder to associate with.    

Figure 5 - Kill Bill [film] - Anime Sequence

Considering the director had complete control over every aspect of the film down to a say in costume and choreography, it becomes extremely apparent as why Tarantino chose to make miniatures and film live action over a better looking animated scene during the fly over in the aircraft over Japan. It is arguable this choice was made because animation would have been the more traditional option in the current technological climate, so by breaking this tradition Tarantino gives the audience something unexpected by confronting a version of how the world is viewed.    

Figure 5 - Kill Bill [film] - live action fly over

Bibliography:

Howard, A. (2017). Tarantino as A Post Modern Auteur (Pulp Fiction, 1994, Kill Bill Vol.1 2003). [online] Alexandra Furssedonn Howard. Available at: https://alexandrafurssedonn.com/2017/04/20/tarantino-as-a-post-modern-auteur-pulp-fiction-1994-kill-bill-vol-1-2003/ [Accessed 5 Oct. 2018].

Groth, G. (1995). A Dream of Perfect Reception. [online] The Baffler. Available at: https://thebaffler.com/salvos/a-dream-of-perfect-reception [Accessed 5 Oct. 2018].

Illustration:

Figure 2: Foulkes, J. (2018). Stock photo BP2252. [online] Bananapancake.com. Available at: https://www.bananapancake.com/-/galleries/personal-favourites/-/medias/28eebd52-5410-4b57-9ce2-7eceae12aa4e-bp2252 [Accessed 5 Oct. 2018].

Figure 1: Khederian, R. (2018). Restoring a historic house: 8 tips and tricks before getting started. [online] Curbed. Available at: https://www.curbed.com/2017/6/8/15762608/old-house-renovate-restore-tips [Accessed 5 Oct. 2018].

Figure 3, 4 and 5: Kill Bill. (2003). [film] Directed by Q. Tarantino. A Band Apart: Miramax.