Quentin Tarantino’s Cartoon Violence
Research / Reflection:
In the article “Quentin Tarantino’s Cartoon Violence” by Jason Barker, the focus is on analysing the concept of “cartoon violence” in Quentin Tarantino’s films, particularly in “Once Upon a Time… in Hollywood.” The author revisits Chris Pallant’s notion of “cartoonism” in Tarantino’s work, highlighting the use of exaggerated, graphic novel, and comic strip violence as diegetic conventions of the cartoon. In other words, he suggests that despite the lack of actual animation in Tarantino’s films, there is a deliberate effort to replicate or use cartoon techniques in live-action scenes.
Drawing on Aristotle’s Poetics, the article explores the potential inverse relationship between cartoon violence and drama, questioning whether the cartoon form is inherently non-dramatic. The author argues that the unwarranted violence in Tarantino’s film undermines plot and character development, ultimately diminishing the dramatic potential in favour of episodic outbursts of violence.
Moreover, the article delves into the implications of such cartoon violence in contemporary cinema, discussing its impact on narrative plausibility and audience engagement. It also connects Tarantino’s portrayal of violence against women, particularly in The Hateful Eight and Once Upon a Time, to Laura Mulvey’s concept of the “male gaze” and the passivity of women in classical Hollywood cinema. It suggests that, in Tarantino’s homage to Hollywood’s “Golden Age,” the director enforces female passivity and discourages active roles for women characters.
The analysis encompasses a thorough examination of the relationship between cartoon violence and drama, drawing on Aristotle’s Poetics to highlight the potential inverse correlation between the two. The article talks about the unwarranted violence in Tarantino’s films, particularly in “Once Upon a Time… in Hollywood,” emphasizing how it detracts from plot and character development.
Additionally, the author explores the broader impact of cartoon violence in contemporary cinema, shedding light on its effects on narrative plausibility and audience engagement. Moreover, the article critically evaluates the commercial and social implications of such violence, drawing parallels with historical and modern contexts.
The integration of Aristotle’s dramatic criteria, including plot, character, thought, diction, music/melody, and spectacle/mise-en-scène, into the analysis is a noteworthy point. The author argues against overly focusing on the cinematic style or form, suggesting that the diegetic conventions of cinema are not just dictated by visual or stylistic considerations, but involve a range of dramatic techniques.
The discussion regarding the cartoon characters’ immortality and lack of true mortality, as noted by Slavoj Žižek, is intriguing. The article emphasizes the consciousness and recognition of cartoon characters regarding their mortality, highlighting the unique nature of cartoon violence where characters can reappear unharmed in the next scene.
The comparison between the episodic nature of cartoon plots and the principles of Greek tragedy, as discussed by Aristotle, provides a theoretical framework for understanding the potential effects of cartoon violence. Gained from analysing the cartoon short “Red Hot Riding Hood”.
The article then shifts to discuss Quentin Tarantino’s approach to violence, comparing his earlier films like “Reservoir Dogs” with the violence in “Once Upon a Time… in Hollywood.” The author points out the difference in Tarantino’s treatment of violence, especially in terms of what is shown on screen and what is left to the imagination.
Overall, the article provides a comprehensive and thought-provoking analysis of the concept of cartoon violence in Tarantino’s films, offering insights into its implications on dramatic potential and audience reception. The author’s use of Aristotle’s Poetics as a framework for the analysis adds depth and academic rigor to the discussion, making it a valuable contribution to the study of film and narrative conventions. On another note, while the article provides a detailed and critical analysis of Tarantino’s filmmaking choices, it is important to note that opinions of art and cinema can vary, and different viewers may have different opinions on the intentions and impact of a filmmaker’s choices.
References:
Quentin Tarantino, 1992, “Reservoir Dogs.”
Quentin Tarantino, 2003, “Kill Bill”.
Quentin Tarantino, 2015, “The Hateful Eight”.
Chris Pallant, July 2017, Vol 2 Issue 2, “Tarantino the Cartoonist.”
Jason Barker, July 2021, Vol 1 Issue 1-2, “Quentin Tarantino Cartoon Violence”.
Aristotle (1909[335 BC]) On the Art of Poetry, trans. Bywater I. Oxford: Clarendon Press.
Anubhav Chakraborty, June 2021, “Aestheticization of Violence and Tarantino.”
Aristotle (1902[335 BC]) The Poetics of Aristotle, 3rd edn, ed. and trans. Butcher SH. London: Macmillan Press.