THE INDEX OF QUENTIN TARANTINO’S “POST-MODERN” IMAGES IN KILL BILL

Abstract

This article aims to develop a semiotic analysis of the films Kill Bill vol. 1 (2003) and Kill Bill vol. 2 (2004), written and directed by postmodern filmmaker Quentin Tarantino. These films were chosen because they constitute a unique universe in the North American director's filmography, full of narratives rich in references and meaning. To this end, we opted for the theoretical bias of Charles Sanders Peirce (1975; 2005), accompanied by the reflections of Lúcia Santaella (1983; 1995). Thus, we can observe the prevalence of an indexical image in Kill Bill vol. 1 (2003) and Kill Bill vol. 2 (2004), full of stimulus and response, actions and reactions, characteristic of the Peircean secondness category. To present the hypothesis described, we adopted the use of film frames, with the aim of analyzing the points of view and interpretations resulting from the relationship between cinematographic language and the semiotic field; that is, with the purpose of reaveling how the process of semiosis happens within each scene of the films in question.