Theoretical research: Auteur Theory (By Hayden Woodcock)

The Auteur theory originated from France in the late 1940’s within filmmaking, used to describe the Directors distinctive style. It states that the Director will be considered as the ‘Author,' responsible for the audio and visual elements including: blocking, lighting and camera placement. As well as this, it addresses a certain theme and a recurring visual style that helps to return to similar subject matters.
A popular director who can be established as an 'Auteur' is Quentin Tarantino.

As a writer-director, Tarantino’s trademark style roots from his talent with dialogue. Within this, he is well-known for pop references. Whilst, Tarantino uses visual flourishes too, to make his films distinctive. The influences of Hong Kong films, Japanese films and homage to 1970's Kung Fu films are apparent. For example, 'Django Unchained' pays homage to the spaghetti western genre. His style can be linked to Martin Scorsese, with the use of long tracking shots and crane shots tracking above his characters.

Tarantino’s love of music often plays an essential role in his films. In the booklet that comes with 'The Tarantino Connection', a collection of soundtrack songs from Tarantino’s movies, are involved. He describes his musically inspired method of film conception as follows: “One of the things I do when I am starting a movie, when I’m writing a movie or when I have an idea for a film is, I go through my record collection and just start playing songs, trying to find the personality of the movie, find the spirit of the movie. Then, ‘boom,’ eventually I’ll hit one, two or three songs, or one song in particular, ‘Oh, this will be a great opening credit song.'”  (From http://www.openculture.com/2014/09/quentin-tarantino-the-art-of-the-music-in-his-films.html)

Tarantino is also known for his stylised and exaggerated violence. All of his films include some detail of death and gore.

Additionally, strong female leads are also predominately used throughout Tarantino’s career, thus he does not follow stereotypical 'Damsel in Distress' Propp character types. For example, Jungle Julia (In Death Proof), Bridget Von Hammersmark (Inglorious Basterds), Alabama Whitman (True Romance), Mia Wallace (Pulp Fiction), Zoe Bell (Death Proof), Santanico Pandemonium (From Dusk Till Dawn), O-Ren Ishii (Kill Bill), Jackie Brown (Jackie Brown) and The Bride (Kill Bill). All of these characters require aid from other characters at some point in their films, representing that they are not all typical protagonists. However, The Bride is the strongest and the most represented 'hero' within his movies because she has an ability to portray an assassin when necessary. This is unique for many films because we find that the protagonist is often male, however it is positive for post-feminism and the modern day that female characters are playing the main hero roles.

Narrative: Quentin Tarantino follows a non-linear structure, due to flashback's. In this case, 'Kill Bill' is presented with a series of flashbacks explain Beatrice's circumstances and how she became jilted and desperate for revenge. Whilst, in 'The Hateful Eight' the ending is altered to connote that the whole plot was a plan, on behalf of Jody (played by Channing Tatum.) This provides variance and a twisted format, to tell the plot uniquely and with tension, to enhance the audience.

Trademark shots:
1. Trunk shots and point of view cinematography. These provide the characters with power, and cause the audience to believe that we are in the trunk looking at them.

2. Close ups of human features or objects for verisimilitude and fine detail, creating audience information and a sensual mood. Furthermore, the extreme close ups connote emotions and create intimacy between the audience and the action, as well as occasionally being used for dismemberment and audience pleasure.

Link: https://vimeo.com/124258143