Why Kill Bill by Tarantino is Postmodern
Kill Bill is an extremely fragmented film with schizoid elements compiled into a mesh of genre's that should not belong together but Tarantino has managed to combine all these elements to make a postmodern classic.
Kill Bill has many different non Linear styles from switching to a nostalgic melancholy black and white to a fight scene of the figures silhouetted against neon blues and an anime sequence that stands out completely from the rest of the film.
The score is also a mismatch of many different genres, Spanish styled music is shown in parts while disco and upbeat music is shown during fight scenes which is a complete juxtaposition that Tarantino translates to the mise en scène with confidence.
As the film progresses so does the fact that the viewer realises that they are watching a film, something that Tarantino undoubtedly does on purpose. The fight scenes become extremely less life like as Uma Thurman swings and glides off stairs and beams while the blood of her victims sprays like fountains. As the plane lands in Tokyo it is obvious that a miniature model was used coupled with the overly orange glow of the sunset.
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