There is no doubt that the most direct fun in the movie "Kill Bill" is that it mixes and mixes multiple factors and cultures. In this step, we have seen the production styles of films in different periods and countries in this step.
However, to fully evaluate the nature and form of the fictional world in the "Kill Bill" series of films will face many special challenges. Some challenges come from Tarantino's choice in ordering and presentation of the events that happened there .
The unique presentation of the virtual world
The whole narrative method of "Kill Bill 2" is very interesting. As the event is rearranged and arranged, a series of audiovisual techniques are added, such as exaggerated lighting and editing, split screen, As well as the conversion from black and white to color, time and images appear to be flexible and changeable in movies.
These formal breaks and developments are actually implied in a character, is the swordsmith Hattori half that appeared near the end of the first part. In his narration, he described the nature of revenge like this: "The road to revenge is never a smooth road. It is a forest, and it is easy to lose your way... If you get lost, you will forget where you came from."
tight Then, when the voiceover appears, we can at least feel a sense of panic together. The story kingdom of the film is indeed like a dense forest.
At this point, Tarantino effectively disrupted the "linear" process of events in the film. Edward Grafant fully revealed this when analyzing the "Kill Bill" series of films. feature. same,When the director of describes the fictional world, he wanders between a series of performance strategies to create a deeper potential break.
The deep meaning of revenge and loss
If we take a closer look, Hanzo's words are quite unspoken. Therefore, the film describes not only the revenge process that takes place in the virtual world, but also Tarantino's treatment of it. Interpretation, is the way in which the fictional world may appear in front of us.
This reminds us of a series of representative choices made by the director . These choices are determined by his attitude towards events and characters. The way it is presented in front of us has a profound impact.
For example, when he eliminates the color of the screen, or arranges events out of order, it will strengthen our consciousness and make us think that this world is deliberately presented by Tarantino, and is not indiscriminate Conveyed to us with prejudice.
However, Hanzo's words have a deeper meaning, that is, he laid a solid foundation on the relationship between revenge and loss. In the film, this is closely related to the character Beatrix.
When Hanzo uttered his revenge line, Beatrix had just visited him and was given a sword. We saw her planning a revenge plan on the returning plane. She wrote down the names of the five people to be killed in the revenge plan, and Bill ranked fifth.
Hanzo's voice-over tells us that she writes this way to maintain a certain sense of order in the passion of revenge impulse. However, Hanzo’s words establish a connection between Beatrix’s desire for revenge and the film’s collage style, we can understand one by one, or at least guess the dramatic sequence of each film.
As Hattori Hanzo described, it is precisely shaped by interconnected segments that resemble the power of revenge. In this way, the film style is linked to the psychological perspective of the central character Beatrix. She will perform her revenge mission to kill the members of the deadly viper assassination team (the five names on her list).
Approaching Beatrix
Tarantino connects the presentation of film style with Beatrix's impulse, constructs a (plot) development that fits with her revenge drive Way.
In this way, the director allows us to approach the emotional perspective of the character and share her despair, joy and anger. This must be achieved through a series of representative (strategic) choices.
On the other hand, these choices of may be regarded as a patchwork of aesthetic fragments, which may seem interesting, but in reality they are empty and are very inconsistent. The potential indifference of this strategy reflected in her experience of revenge and her needs is circumvented.
The beginning of the first part of "Kill Bill" quoted a famous saying: "The dish of revenge is best served coldly." The director defined this sentence as "an old Klingon proverb."
This joke should refer to the second part of the movie "Star Trek"-"The Wrath of Khan" (The Wrath of Khan, 1982), if you have not watched this movie, it is best to watch it, because of this This movie may help us in the context of Beatrix's revenge in "Kill Bill", consider how to interpret this proverb deeply and sincerely.
In fact,If we explore in this way, Beatrix’s revenge is no longer a cold-blooded act, but a fierce emotional and physical struggle throughout the film.
In these films, revenge brings an emotional burden, which comes from the close and tense relationship between opponents. Beatrix, played by Thurman, clearly conveyed the fact that throughout the film, distorted her image in the process of dealing with a series of tense battle situations.
In addition, the film interspersed her changes in many sighs, screams, roars and crying. helped to shape her as a character who experienced the most direct and strongest complex in revenge.
When tracing the relationship between a movie's fragments and the film's broader model, how should we view Quentin Tarantino's "Kill Bill" series of movies?
This series of videos presents a series of passages, and its diversified styles may lead to very different themes . Keith Booker described the film as "the main teaching material on how to borrow style elegantly."
In a sense, Booker provides a value judgment: He uses the word "elegant" to imply that there may be some less elegant or even completely inelegant style borrowing methods.
However, Booker's concept here uses the term "main teaching material" , pointing out that the movie should be understood as a work that elegantly borrows from other styles. This may be the case. Important attributes and attractiveness.
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