This is a response paper to the Andrew Sarris essay “Notes on the Auteur Theory in 1962” from the book “Film Theory and Criticism: Introductory Readings” by Leo Braudy and Marshall Cohen for my Advanced Film Theory and Criticism class.
This is a response paper to the introduction part of the A.O. Scott book “Better Living Through Criticism: How to Think About Art, Pleasure, Beauty, and Truth” for my Advanced Film Theory and Criticism class.
Quite impressively, director Quentin Tarantino allows the entire the film to fly by even with its three-hour length. He is able to translate both the technical and thematic values of his vision into an unabashedly post-modern tale of love and revenge.