Abstract
Abstract: This article considers the intense and sustained fan reaction towards Pulp Fiction (since its 1994 release) through the lens of affect and animation. Specifically, the article draws on Sianne Ngai's concept of animatedness (the act of feeling and being moved) and Roland Barthes's idea of photography animating spectators in divergent and personal ways. Much of these animated and affective responses stem from Pulp Fiction losing to Forrest Gump (1994) at the 1995 Academy Awards, the latter often described as "one of the worst Best Picture winners ever." The faults of Forrest Gump enhance the qualities of Pulp Fiction , a symbiotic relationship formed over the past 30 years by such emotive and hyperbolic language.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
