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自上个世纪90年代以来,美国电影导演昆廷·塔伦蒂诺以其特殊的电影创作风格几乎成为电影界的一块标识,一种时尚,一个符码。从某种意义上讲,他的作品可以看作后现代主义电影的注解之作。和众多后现代导演一样,昆廷也是伴随着录像带、电子游戏、MTV、电视等大众媒介成长起来的。他们对于复制与拼贴所带来的快感有着更为深切的体会, 同时他们对于“视听表达”也有着不同于以往前辈的独特感觉和见解,这在一定程度上决定了其电影语言的新奇与张扬。大家都不会忘记1994年在一片争吵与唏嘘声中落幕的戛纳电影节,原本呼声最高的《红色》名落孙山,而被一些人称为“坏孩子”的昆廷却带着他的《低俗小说》获
Since the 90s of the last century, the United States of America film director Quentin Tarantino has become almost a symbol of the film industry, a fashion, a code for its special style of film creation. In a sense, his works can be regarded as annotations of postmodern movies. Like many postmodern directors, Quentin grew up with mass media such as videotapes, video games, MTVs and television. They have a deeper understanding of the pleasure of copying and collage, and they also have unique feelings and opinions different from those of their predecessors in the aspect of audiovisual expression, which to a certain extent determines the novelty of the movie language Publicity. We all can not forget the 1994 Cannes Film Festival ended in a quarrel and hissing, originally the most crying “red” name of the mountains, but by some as “bad boy” Quentin took his “vulgar novel” Won