Keyframe 1
The first key frame includes a medium long shot of the setting for scene one. The frame is taken during the day and natural light pears through the window to portray Sapphire's contentment. The keyframes have been subtly edited with a red tone to link in with Tarantino's style and the background of Sapphire's name. In the texts that I have studied, Tarantino uses a subtle tone on his film to make the content look older. I decided to do this to my keyframes and to use a red tone when Sapphire is the dominant and a blue tone when she is most weak and dominated by Zi.
For example, we see the red tone in the opening scene of Death Proof.
Keyframe 2
The second keyframe consists of Sapphire turning the radio on with her foot. This explores many aspects that can be seen within the Tarantino texts I have studied. For example, in the beginning of Death Proof the male gaze is incorporated heavily by voyeuristic angles of the camera resulting in Jungle Julia being sexualised and objectified. I decided to incorporate this into my keyframes to show Sapphire's sexual dominance, similar to Mia Wallace in Pulp Fiction. The fact Sapphire is turning the radio on with her foot, and the rest of her cannot be seen is also relative throughout Tarantino films, as he uses the naked female foot as a sexualised fetish. I feel that this is a recognisable aspect used in the texts that I have studied, therefore the incorporation of this factor was important in order to make a creative artefact of the aspects studied in my chosen texts.
Meanwhile, the radio will play Jeepster, T-rex.
Keyframe 3
The third keyframe again is heavily influenced by the opening scene in Death Proof. As I previously mentioned, Jungle Julia is sexualised before the audience are met with her whole appearance and personality. The use of the high angle shot looking down on Sapphire incorporated the male gaze and voyeurism into my film, which I studied throughout the Tarantino texts. As I discovered throughout my critical research, Tarantino's Death Proof breaks from his norms as he portrays the female characters heavily through the voyeuristic male gaze. I wanted to incorporate this into my film whilst still creating Sapphire as a strong, dominant woman. This therefore links back to Stephanie Sutton's point about Tarantino compensating ‘for his masculine representations by creating hyper-sexualized female characters’.[i]
Keyframe 4
The fourth key frame links to my critical research. I argue that in Pulp Fiction Mia is completely in control of the situation;
she sucks on the straw of her milkshake as well as a red glaze cherry, which
seems to be symbolically seductive. Once again, Tarantino has reversed
stereotypical gender roles, making Mia the dominant and controlling one. I felt that this was a key aspect that Tarantino uses in the films I have studied; by incorporating the male gaze with the sexualisation of female characters, but praising their strengths through their confidence and control over the male characters. The inspiration from this shot came from the diner scene in Pulp Fiction where we see Mia Wallace seductively suck on the straw of her milkshake. Similarly, this has been re-created in the above key frame, but instead to suit the narrative, Sapphire is holding a joint. The medium close up portrays Mia and Sapphire with a central importance and confidence, as Tarantino also does with his characters. The low angle shot enhances her power.
Keyframe 5
In the above shot, Sapphire is portrayed through a medium close up shot. This is similar to aspects explored through my critical research, I argue that Fabienne in Pulp Fiction is conveyed through the male gaze, when we are first met with the character she is lying on
the bed with her back to the camera. Throughout the scenes with Fabienne, there
is emphasis on her legs. This therefore is an example of how Tarantino has
incorporated the male gaze. This is similar to Freud’s idea of scopophilia; he
described this as ‘taking pleasure in looking at other people as objects.’[i] I felt that this was relative to my own narrative and significant throughout my research, therefore the emphasis on Sapphire's legs is evident prominently throughout, and especially within frame 5 and 6.
Due to health and safety reasons, I could not light the joint when taking the shots. I therefore had to edit the image in photoshop to make the situation look realistic.
[i] http://www.inter-disciplinary.net/ci/erotic/er3/Vandermassen%20paper.pdf
accessed 3 November 2014
Keyframe 6
As I mentioned above, the inspiration came from the portrayal of Fabienne in Pulp Fiction.
Keyframe 7
Key frame 7 begins in the second scene of the screenplay. As I mentioned in my essay; Tarantino has portrayed the relationship in the
film with a dominant female. In the shot below, Honey Bunny seems to be
portrayed as the dominant in the relationship; not only does she have control
of the conversation, but also control over the scene. She is nearest to the
camera, sitting upright with good posture. This illustrates that she feels that
she has the most power, whereas Pumpkin is slumped in the corner of the booth.
One may argue that this shot portrays the dominance and power that the female
has over the submissive Pumpkin. I decided to recreate this to portray the change in the dominance of their relationship. When the flashbacks occur, we see a shift in who holds the power in the relationship.
Keyframe 8
I wanted to extend Zi's weakness over women to exaggerate his dominance over Sapphire in the past. The above shot is taken as Zi patronises the waitress when she questions his manner, he replies with a sarcastic "Please." and objectifies her as a sexual object as she walks away. This therefore links to my critical research, I explore how Tarantino objectifies women through the male gaze, but doing so makes the male characters become what Emanuela Betti describes as the "butt of the joke". Also within my essay, I talk about how the male characters are visually portrayed as the "butt of the joke" through costume and camera angles. In the film Pulp Fiction, Vincent and Jules are previously portrayed in black suits, as well as their job as hit men, the characters are portrayed as stereotypically masculine. However, as the film develops we see their masculinity decrease, ultimately reducing their status and making them become the "butt of the joke". We see this throughout the below image, where Vincent and Jules are finally portrayed in 'goofy' clothing.
I decided to dress Zi in a comical Hawaiian shirt, as well as a white vest and gold chain, which makes him become the "butt of the joke".
The high angle shot is conveyed as the waitresses perspective and subtly portrays Zi as weak and inferior.
As I previously mentioned, the red colour tone edited over the key frames within the present day scenes portray Sapphire's dominance over Zi; the incorporation of the red decor within the diner further enhances this.
Keyframe 9
The above key frame is within the first flashback scene of the screenplay and occurs within scene two. We see a blood stained glass of milk being held with Zi's hand. We acknowledge this is Zi as the audience can recognise the tattooed arm in the continuing key frames. The low angle shot portrays the shift of the dominance in relationship; previously, in the key frames set in the present, we see Sapphire portrayed with the power and control, however in the flashbacks we see a difference in power and the low angle shot therefore provides this.
I also decided to edit a blue tone over the image by photoshop. Using colour psychology, blue tones portray a masculine sense of power once again confirming Zi's dominance. The slight difference in colour tone over the image makes it more obvious to the audience that this is a flashback and not set within the same time as the over key frames. The blue tone was also inspired by the beginning of Kill Bill where we see the two men standing over Beatrix who at the time, hold the power and control but soon become the "butt of the joke". This further inspired me to edit the blue tone over the flashback key frames to convey Zi's power and control and exaggerate his emasculation.
I decided to use milk as I felt that this would be a recognisable feature within the film that Sapphire can therefore remember in the present day frames. Tarantino is also known for his association with food, linking to situations in his films. I decided to use milk, as we later see in comparison to Sapphire's choice, the drink is typically feminine due to its background and source, which ultimately emasculates Zi in the further key frames.
Keyframe 10
The continuing key frames are set within the present day, this is portrayed through the dialog within the script and the colour tone manipulated on the frames. The key frame is taken just after Zi and Sapphire discuss Zi's choice of drink:
Zi: It's milk. Not juice.
Sapphire: Ok.
Zi: (Relaxes, picks up his glass of cold milk, presses it to his lips and pauses. He looks at Sapphire. He stares at her for a second, maybe a second too long. He holds his glass towards Sapphire's beer and gestures to it.)
The above shot therefore links to the previous flashback as Zi's tattoo and choice of drink trigger a memory for Sapphire and the audience.
Keyframe 11
The above key frame is taken seconds after the previous. We see Sapphire and Zi toasting with their drinks. The focus within the image stays within the centre of the shot. We see Sapphire holding a bottle of Budweiser, whilst Zi holds his glass of milk. This links to my critical research essay as I explore Tarantino's reversal of male and female roles; women as the macho and emasculating the male characters. As I mentioned earlier, Zi's choice of milk associates him with female traits and emasculates him, which is further exaggerated by Sapphire's choice of beer, and is drunk from the bottle. This therefore confirms the reversal of the stereotypical roles as Tarantino also does throughout the films I have studied. These associated props also convey Sapphire's power and dominance within the present day and Zi's emasculation and weakness.
The choice of the Budweiser, as well as the effect is also similar to the Tarantino films I have studied as the majority of the texts are not clear when they are set, but include a stereotypical America.
Keyframe 12
Key frame 12 is another flashback, set within scene 2. Previously, Zi has taken a gulp of his milk and lets out an "AHHHH...." after he has finished. This triggers a memory of Sapphire's which we see through the flashback.
Once again, we see the blue tone edited over the frame to portray male dominance and a past memory. Zi's hierarchy is further enhanced through a low angle shot. This is the first time it is confirmed that the man in the flashbacks is Zi. This also links to Tarantino's films as he often does not show the villain's face until later on in the film; for example Marcellus Wallace form Pulp Fiction and Bill from Kill Bill.
The key frame is taken as Zi stands over Sapphire's parent's dead bodies and takes a gulp of his milk.
Keyframe 13
Sapphire: Have you ever thought about where milk comes from?
Zi: (Sarcastically looks to Sapphire, stretching his gum with his hand, the other end clenched between his teeth)
Sapphire: You never thought about what the man... or woman... (takes out gun from her bag and aims it towards Zi's crotch underneath the table, Zi is unaware of this.) was doing to that poor cow?
The fact that Zi is unaware of Sapphire's control over him makes him become the "butt of the joke". The equal posture and camera angle is patronised by Sapphire's holding of the gun subtly underneath the table.
The holding of the gun to the crotch is a key feature within Tarantino films. Although I do not explore this throughout my critical research, it is a nod to Tarantino's other work and is a key aspect to the emasculation of male characters.
Once again, we see more red within the key frame which exaggerates Sapphire's dominance and control.
Keyframe 14
Sapphire: Do you know who I am Zi? (Puts her foot between Zi's legs)
At the point the key frame is taken, Zi realises Sapphire's control and dominance over him. It is at this point that Zi has been emasculated and has become the "butt of the joke". The inspiration from this shot came from the lap dance scene in Death Proof. We see Arlene as being hyper-sexualised and portrayed heavily through the male gaze. During the lap dance, Arlene has dominance over Stuntman Mike and places her foot in between his legs to dominate him sexually, whilst emasculating him.
Keyframe 15
Key frame 15 is taken as Sapphire states who she is to Zi, whilst still holding the gun to his crotch which we see in the frame below. I decided to edit the frame similar to the description texts that appear in many Tarantino films such as the below in the film Kill Bill.
Keyframe 16
Key frame 16 is the last frame where we see any sign of Zi and assume physical emasculation. The shot is taken moments before Sapphire pulls the trigger on the gun.
The gun conveys elements of phallic imagery, making the death ironic.
Keyframe 17
The above key frame is taken moments after Sapphire has left Zi's dead body in the diner booth. As she walks off Rumble, Link Wray begins to play within the background of the diner. Sapphire walks into the bathroom and stands in front of the bathroom mirror and analyses herself. We see little emotion in Sapphire's expression.
The image has a more prominent red tone, and Sapphire is portrayed with even more dominance and control with a low angle shot, as she looks down into the camera, which acts as the eyes of the mirror.
Keyframe 18
The above shot is taken again as a flashback, we see Sapphire, four years younger, portrayed as weak and inferior through a high angle shot and a blue effect that has manipulated the image. The key frame portrays the character's shift to her current power and dominance. This is common in the Tarantino films I have studied, although he sexualises his female characters, whilst presenting them with power and other macho qualities, Tarantino also sympathises with the female characters by portraying their backstory, which forces the spectator to align with the said character and gives reasons for her actions. We see this is Kill Bill with O-ren's backstory, who witnessed her parent's murder. I took inspiration for key frame 18 from the below shot.
I wanted to use the same actress to play Sapphire's younger self to look more realistic, therefore to make Sapphire look younger, I decided to use pink clothing. This therefore links to the colour psychology and Sapphire's transition; from a weak pink to a strong red.
Keyframe 19
The above shot contains Sapphire's young self looking angrily into the camera, which triggers her motivation for revenge on Zi. The shot, as I previously mentioned, is inspired by Kill Bill and the below shot.
From this frame, the audience gain reasoning for Sapphire's actions and therefore her actions are justified, a trait of Tarantino's.
The key frame also portrays her transition from weak to strong and therefore confirming her as the macho.
Keyframe 20
The final key frame is an image of Sapphire seconds after key frame 17, set in the present day. We see Sapphire smoking a joint in the toilets of the diner. Conveying her lack of care for the situation.
For health and safety reasons I had to edit the smoke and the burnt/lit part of the joint. I did this through photoshop.
I wanted to finally convey Sapphire with a strong image of independence and the accomplishment of revenge, similar to Beatrix in Kill Bill, the three women in Death Proof and Jackie Brown in Jackie Brown. The shot however, is inspired by Mia Wallace from Pulp Fiction. Although I wanted Sapphire to be left with the hierarchy and masculinity that Tarantino gives to his female characters, he also sexualises them, therefore I wanted to incorporate this into the final frame of the script. The bathroom diner scene in Pulp Fiction was the inspiration from this shot, as we see Mia being the dominant, not only with men, but with other women.
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