Pulp Fiction (1994)

Tarantino's Pulp Fiction is well known for it's postmodern attributes including it's irregular narrative course and it's many intertexual references.

The first example of postmodernism in the cult film is Tarantino's disregard for a chronological narrative. Instead he split the film into three stories, "Vincent
Vega and Marcellus Wallace's Wife", "The Gold Watch" and "The Bonnie Situation." This fits in with Lyotard's theory of the declining meta narratives over
time, along with the increase of "mini-narratives".

Not only does this follow Lyotard's theory but also one of Strinarti's five, confusion over time and space, as the audience have to think hard to work out where the narrative actually began if it were chronological. The demand for more audience participation is yet another example of postmodernism, as gone are the days where directors are simply presenting to a passive audience.

To present these small chapters within the film the director has used title cards. This immediately reminds the audience that the film has been
constructed, something Tarantino obviously didn't find damaging to his film. Such awareness of self-construction is a common element in postmodern
films, and was included by Winterbottom in 24 Hour Party People & Road To Guantanamo.

Within the film there are scenes in which so-called "natural" conversation has been used, for example when Vincent Vega (John Travolta) and Jules
Winnfield (Samuel L. Jackson) are talking about how Mc Donalds names it's burgers differently all over the world. This creation of hyper reality is
something Baudrillard felt strongly about, arguing it was a prominent aspect of postmodern media.

Something I didn't personally pick up on, but learnt when researching Pulp Fiction, was Tarantino paying homage to classic films when picking up
different "tools" to defend himself with.
Hammer - The Toolbox Murders (1978)
Baseball Bat - Walking Tall (1973); The Untouchables (1987)
Chainsaw - The Texas Chain Saw Massacre (1974);[164][165] The Evil Dead II (1987)
Katana (samurai sword)— many, including Seven Samurai (1954);[164][165] The Yakuza (1975);[164] Shogun Assassin (1980)
By incorporating these intertextual references it makes those audience members feel included in the "in joke" which Tarantino is making. Such features
also provides something to pick up on during second viewings, with their subtle inclusion making them harder to find.