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RIP Project & RIP rhetorical analysis - Essay Example

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Name Date Class Rolling Stone Pulp Fiction (1994) Starring John Travolta, Samuel L. Jackson, Bruce Willis, Uma Thurman, Tim Roth, Amanda Plummer, Harvey Keitel, Eric Stoltz, and Ving Rhames. Directed by Quentin Tarantino Written by Quentin Tarantino and Roger Avary One thing that cannot be said about Quentin Tarantino is that he is subtle…
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RIP Project & RIP rhetorical analysis
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"RIP Project & RIP rhetorical analysis"

Download file to see previous pages The film is as thoughtful as it is wildly and almost obscenely violent. Even as it digs deep, it skims along the surface meaning that a whole range of audience fulfillment can be achieved. In this sophomore effort by one of the most controversial directors, Tarantino is as much a star as is his electrifying cast. Tarantino develops a unique style in which his story is told through disconnected scenes that are out of sequence, leaving the audience engaged in an effort to try to figure out just where the story is going. Just as it seems impossible to find meaning, the stories flow together so that the viewer forms that inevitable ‘O’ on their lips as it begins to make sense. The individual scenes are riveting enough that the viewer can wait until they begin to make sense. There is no rush. If you haven’t seen the film, please know that the following review is filled with spoilers. The film is a bumpy ride and a review of it would be no less. The film opens with a dialogue between Tim Roth and Amanda Plummer as they sit in a diner talking to one another like most desperate couples. The short scene ends as they pull guns, Plummer screaming at the patrons at the top of her lungs as they initiate a heist that won’t be resolved until much later. ...
However, just like the structure of the film, his entrance has to wait for the moment as Travolta and Jackson dominate the film with storylines that include killing off a group of fraternity brothers in over their head with their crime boss. As well there are a series of drug based subplots that include watching a dead Uma Thurman pop back to life after having her chest stabbed with a thick needle on a hypodermic filled with adrenaline. Earlier in the film she is quirky yet elegant, but nothing is held back as she swipes her hand across the dribbles of vomit still clinging to her face from her overdose. Travolta, his belly rounded just as his face has become moony, his roles as a dancer or high school screw up in Saturday Night Fever and in Welcome Back Kotter long behind him, comes on as almost repulsive. Somehow he mixes the portrayal of streetwise intelligence with simplistic insights into a compelling and sensitive character that the audience can’t help to love. No one would want to meet him, but everyone knows him. His character ‘Vincent’ is that guy who gets things done that no one else wants to do. Jackson, meanwhile, waxes philosophical on a plane above Vincent’s head and just slightly right of what might be expected for his character. The pair become instantly iconic as they experience the rollercoaster ride that is their life. One of the most classic on-screen pairings comes from Uma Thurman’s portrayal of Mia Wallace and Travolta’s character Vincent. His still unmet (by the audience) boss Marsellus has instructed Travolta to take his girlfriend out for the night so she is entertained. This puts ...Download file to see next pagesRead More
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Rhetorical Analysis
 Rhetoric makes heuristics provisions for distinguishing, comprehending, and developing certain arguments related to specific settings (Young, Becker & Pike, 1970, 1). There are five main criterion of rhetoric for framing a persuasive speech to affect the audience, which are based on arrangement, memory, discovery, style, and apt delivery.  In case of rhetorical literature, Corbett, had claimed that in such instances rhetorical analysis "is more interested in a literary work for what it does than for what it is" (Corbett, 1990, xxii).
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