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CM Anglo-Americana > BLOQUE 5. KILL BILL. > Flashcards

BLOQUE 5. KILL BILL. Flashcards

1
Q

KILL BILL IS A

A

SELF-CONSCIOUS PASTICHE

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2
Q

PASTICHE =

A

A COMPOSITION MADE UP OF FRAGMENTS PIECED TOGETHER

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3
Q

IS KILL BILL A PASTICHE?

A

YES

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4
Q

IS KILL BILL A HOMAGE OR TRIBUTE?

A

NO

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5
Q

IS KILL BILL PLAGIARISM?

A

YES

TARANTINO STEALS FROM EVERYWHERE

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6
Q

KILL BILL IS A BLEND OF

A

THE BASIC GENRES
GENRE-PLAY AKA GENRE BLENDER

  • Kung-Fu
  • Samurai
  • Blaxploitation
  • Spaguetti Western
  • Horror
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7
Q

CHAPTERS HAVE A

A

SERIAL FORMAT

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8
Q

KILL BILL ENJOYS

A

a unified narrative of betrayal, murder, revenge, and emotional closure

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9
Q

How do we classify Kill Bill?

A

Fits the criteria of Carol J. Clover’s
classification of “rape-revenge film”.

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10
Q

Quest for revenge:

A

This storyline is “primal” – it is the thematic link that unifies the narrative arc.

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11
Q

The innovation lies in that Tarantino’s genre-play emphasizes

A

the unifying theme among the several genres—both in style and content.

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12
Q

Vengeance may very well be

A

the mainspring of American popular culture

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13
Q

“Revenge”

A

“is the oldest motivation known to mankind.”

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14
Q

I Spit on Your Grave offers

A

no outs; it makes no space for intellectual (119) displacement.

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15
Q

Jennifer takes the revenge

A

because it is the punishment that fits the crime

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16
Q

Higher forms of the rape-revenge story involve us in

A

a variety of ethical, psychological, legal, and social matters

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17
Q

I Spit on Your Grave shocks

A

because it is too familiar, because we recognize that the emotions it engages are regularly engaged by the big screen

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18
Q

The female victim-hero is the one with

A

a backstory and the one whose experience structures the action from beginning to end.

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19
Q

KB1 -

A

A former assassin wreaks vengeance on the team of assassins
who betrayed her.

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20
Q

KB2 -

A

The Bride continues her quest of vengeance against her former boss and lover Bill

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21
Q

The slasher genre is predicated on

A

spectatorial identification with females in fear and pain.

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22
Q

Without revenge, [The Bride’s narrative would be] reduced to

A

domestic conflicts between husbands and wives, and between lovers and exes.

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23
Q

In KB1, Beatrix illustrates

A

the centrality of revenge in the master narrative both through actions and words.

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24
Q

Another way Tarantino identifies revenge as the most dominant, over-arching theme in the film is through

A

The Bride’s fascination with revenge narrative.

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25
Q

THE BRIDE’S IDENTITY IS

A

ABSOLUTELY CRUSHED

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26
Q

REVENGE IS

A

EXTERMINATORY

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27
Q

REVENGE ALWAYS INVOLVES

A

FAMILIES

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28
Q

TALK ABOUT TRAUMA -

A

WANT REVENGE
AND
LOSS OF IDENTITY

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29
Q

Berseking =

A

an eruption into exterminatory violence through which a victim of trauma attempts to fill an evacuated self.

Avengers typically experience a final symptom of trauma that is often described as berseking

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30
Q

THE BRIDE IS KILLED TWICE

A

BY BILL
BY BUDD

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31
Q

THE BRIDE suffers an annihilation of

A

meaning and identity

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32
Q

In KB2, we learn that

A

it is Bill who inspires in Beatrix her love of revenge narratives.

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33
Q

KILL BILL =

A

Transforms the structures of the revenge tragedy.

34
Q

It is not a tragedy-

A

it has a happy ending

35
Q

The avenger does not

A

die as a consequence of the vendetta

36
Q

Kill BILL = Subversion of

A

the Revenge Genre’s Conventions.

37
Q

An IRRETRIVABLE LOSS/UNHEALABLE INJURY starts the

A

quest for REVENGE

38
Q

The past cannot be undone or rewritten / the loss cannot be

A

restored or regained

39
Q

The rape revenge film seems in some ways

A

definitively postmodern

40
Q

The revenge film offers a series of

A

murders and/or scenes of torture linked through a loose narrative of revenge

41
Q

Violence does not operate as a shock that
defamiliarizes or disrupts narrative but

A

constitutes the narrative.

42
Q

excessive, the logic of a revenge narrative

A

invokes, justifies, and contains the violent action

43
Q

REVENGE =

A

ALWAYS AN ACT OF THEATRE

44
Q

AVENGERS TYPICALLY

A

SPARE CHILDREN

45
Q

WE SEE HOW REVENGE OPERATES BUT

A

WE DO NOT SEE THE PSYCHOLOGICAL IMPACT ON THE CHARACTER

46
Q

TARANTINO MAKES VIOLENCE

A

AN AESTHETIC PLEASURE

47
Q

AVENGERS NEED A

A

PUBLIC PERFORMANCE

48
Q

THE LOGIC OF THE REVENGE =

A

THE FLASHBACK

49
Q

COMIC RELIEF IN

A

A REVENGE

50
Q

The experience of humiliation leads the revenger not only to
double his or her violent deeds but

A

also requires a public performance to repair self-image.

51
Q

The threat of female public, violent action is
subsumed by

A

the private, essentially nonviolent domestic space.

52
Q

The Bride gives up

A

everything, including her powerful, active identity as a skilled fighter, for her daughter.

53
Q

It is an idealized vision of

A

maternal wholeness

54
Q

UTOPIC

A

ENDING

55
Q

MATERNAL COMPLETION AND FEMALE
REDEMPTION THROUGH

A

MOTHER-DAUGHTER BONDING

56
Q

The violence of revenge is merely shifted with

A

the discovery of the child, as the Bride’s motivation becomes one of maternal recovery

57
Q

The final scene of Kill Bill offers a

A

utopic and intensely feminized image of a naturalized and conventional maternal wholeness

58
Q

There is an extent to which Bill’s death is framed

A

as a result of masculine agency.

59
Q

The penultimate scene is literally one

A

of domestic implosion

60
Q

This melodramatic ending is in keeping with the drive toward

A

increasing domesticity

61
Q

Bill is not penetrated but

A

killed from within (a literal heartbreak)

62
Q

Kill Bill can be seen as

A

a nostalgia film

63
Q

The desire is

A

to reawaken the sensations and feelings associated with those objects

64
Q

The Bride’s violence is

A

exceptional, personally motivated, and purposefully aimed at the reestablishment of family unity

65
Q

The absence of patriarchy is an

A

absence of violence and threat

66
Q

In their traditional exhibitionist role women are simultaneously

A

looked at and displayed

67
Q

Woman displayed as sexual object

A

is the leitmotif of erotic spectacle

68
Q

Traditionally, the woman displayed has functioned on two levels:

A
  • as erotic object for the characters within the screen story
  • as erotic object for the spectator within the auditorium
69
Q

A woman performs within

A

the narrative

70
Q

The female body, however deformed,

A

remains the object of the gaze

71
Q

First, the woman’s lack is

A

cosmetically enhanced

72
Q

The means through which the body achieves its lack

A

becomes the object of the gaze

73
Q

The coupling of violence and beautifully disfigured women gives

A

Tarantino his most concentrated aesthetic.

74
Q

These violent heroines of contemporary popular cinema are

A

suggestive of the kind of ideological masking

75
Q

The songs in Tarantino films are also very

A

catchy, memorable, and finely crafted pop songs

76
Q

The songs in Tarantino films evoke

A

retro-nostalgic longing, heightened engagement, and pure
enjoyment in rhythm and tone

77
Q

Music works to frame

A

extreme violence in Tarantino films

78
Q

Tarantino’s films, most of his violence

A

occurs off-screen

79
Q

The role of violence, and the revenge narrative in particular

A

is one of stabilization rather than excessive transgression

80
Q

The use of sound to create the cohesion of

A

such scenes that in turn constructs an aural violence as powerful as the depicted brutality

81
Q

Hummed tunes or elevator music -

A

a kind of auditory passivity and docility

82
Q

Tarantino roots his violence

A

more firmly within a filmic fantasmatic space of artifice and reflexivity

CM Anglo-Americana (5 decks)

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