Pulp fiction can be characterized as "fast-paced, plot-oriented storytelling of a linear nature with clearly defined, larger than life protagonists and antagonists, creative descriptions, clever use of turns of phrase and other aspects of writing that add to the intensity and pacing of the story." TriStar Pictures Slate for 1993". Variety. February 5, 1993. Archived from the original on June 30, 2008 . Retrieved September 21, 2007.

a b "All the Awards—Festival 1994". Cannes Festival. Archived from the original on October 13, 2007 . Retrieved September 14, 2007. Turan, Kenneth (October 14, 1994). "Quentin Tarantino's Gangster Rap". Los Angeles Times. Archived from the original on May 5, 2018 . Retrieved April 10, 2018.

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Dawson, Jeff (December 1995). "Hit Man". Premiere (UK). Tim-Roth.com. Archived from the original on January 20, 2013 . Retrieved April 11, 2012. a b "AFI's 100 Years ... 100 Movies—10th Anniversary Edition". American Film Institute. Archived from the original on July 16, 2011 . Retrieved September 20, 2007. Walker, David (2005). "Tarantino, Quentin". In Sim, Stuart (ed.). The Routledge Companion to Postmodernism' (2nded.). London and New York: Routledge. ISBN 0-415-33358-X.

Pulp Fiction premiered in May 1994 at the Cannes Film Festival. The Weinsteins "hit the beach like commandos", bringing the picture's entire cast over. [101] The film was unveiled at a midnight hour screening and caused a sensation [102] [103] It won the Palme d'Or, the festival's top prize, generating a further wave of publicity. [104] Pulp authors were paid by the word, and editors tried to outdo one another in producing the most outrageous material. While it’s true that a lot of the stories are only interesting for nostalgic reasons today, writing pulp like a training camp for crime writers, some of whom went on to write the 20th century’s most influential novels. World War II and the advent of paper rationing saw a dip in popularity and availability of pulp novels, but after the war pulp experienced something of a revival. The magazines of the 1930s gradually disappeared, but pulp novels were release to occupy the minds of thousands of returning GIs wanting more action, adventure, intrigue and, yes, sex. Wallace's wife and an aspiring actress. Miramax favored Holly Hunter or Meg Ryan for the role of Mia. Alfre Woodard and Meg Tilly were also considered but Tarantino wanted Thurman after their first meeting. [24] [25] She dominated the film's promotional material, appearing on a bed with cigarette in hand. She was nominated for an Oscar for Best Supporting Actress. Despite being launched into the celebrity A-list, Thurman chose not to do any big-budget films until Batman & Robin (1997) three years later. [26]

Constable, Catherine (2004). "Postmodernism and Film". In Connor, Steven (ed.). The Cambridge Companion to Postmodernism. Cambridge: Cambridge University Press. ISBN 0-521-64840-8. A " cleaner" who aids Jules and Vincent. Tarantino wrote the part of Wolfe for Keitel, who had starred in Reservoir Dogs and was instrumental in its production. In Tarantino's words, "Harvey had been my favorite actor since I was 16 years old." [27] Keitel had played a similarly employed character in Point of No Return (1993). [ citation needed] Martin Scorsese (guest host), Roger Ebert (host) (February 26, 2000). "Martin Scorsese's Best Films of the '90s". Roger Ebert & the Movies. Season 1. Episode 26. Demory, Pamela H. (1995). "Violence and Transcendence in Pulp Fiction and Flannery O'Connor". In Wright, Will; Kaplan, Steven (eds.). The Image of Violence in Literature, the Media, and Society: Selected Papers [from the] 1995 Conference of the Society for Interdisciplinary Study of Social Imagery. Society for the Interdisciplinary Study of Social Imagery. Pueblo, CO. pp.187–194. a b Server, Lee (1993). Danger Is My Business: an illustrated history of the Fabulous Pulp Magazines. San Francisco: Chronicle Books. pp.62–65. ISBN 978-0-8118-0112-6.

Regarding the violence and nihilism in the film, Pamela Demory has suggested that Pulp Fiction should be seen in light of the short stories of Flannery O'Connor, [209] which likewise feature "religious elements, banality, and violence with grotesque humor." Discussing "the connection between violence and redemption," Demory concludes that while O'Connor's purpose is to convince readers "of the powerful force of evil in the world and of our need for grace," Tarantino "seeks to demonstrate that in spite of everything we have seen in the film– all the violence, degradation, death, crime, amoral behavior– grace is still possible; there might still be a God who doesn't judge us on merits." [210] Homage as essence Cinema web .archive .org /web /20210303003426 /https: //toplesspulp .com / (toplesspulp.com no longer working)Locating popular fiction in the bathroom, Tarantino reinforces its association with shit, already suggested by the dictionary meanings of "pulp" that preface the movie: moist, shapeless matter; also, lurid stories on cheap paper. What we have then is a series of damaging associations– pulp, women, shit– that taint not only male producers of mass-market fiction but also male consumers. Perched on the toilet with his book, Vincent is feminized by sitting instead of standing as well as by his trashy tastes; preoccupied by the anal, he is implicitly infantilized and homosexualized; and the seemingly inevitable result is being pulverized by Butch with a Czech M61 submachine gun. That this fate has to do with Vincent's reading habits is strongly suggested by a slow tilt from the book on the floor directly up to the corpse spilled into the tub. [254] Over the course of their evolution, there were a huge number of pulp magazine titles; Harry Steeger of Popular Publications claimed that his company alone had published over 300, and at their peak they were publishing 42 titles per month. [13] Many titles of course survived only briefly. While the most popular titles were monthly, many were bimonthly and some were quarterly. Diaz, Johnny (November 17, 2021). "Miramax Sues Quentin Tarantino Over Planned 'Pulp Fiction' NFTs". The New York Times. ISSN 0362-4331. Archived from the original on December 28, 2021 . Retrieved November 17, 2021. They Came from the Newsstand: Pulp Magazines from the Browne Library". Browne Popular Culture Library News. Bowling Green State University. May 31, 1994. Archived from the original on October 6, 2011 . Retrieved October 22, 2009.

a b Harris, Will (June 26, 2012). "Phil LaMarr on Futurama and getting shot in the face for Pulp Fiction". The A.V. Club. The Onion. Archived from the original on March 16, 2017 . Retrieved March 15, 2017. Sharp, Sarah Rose (August 4, 2021). "The Erotic Nostalgia of Lesbian Pulp Fiction". Hyperallergic . Retrieved July 23, 2023. Texas film critics group doles out awards for the year's best in movies". The Austin American-Statesman. December 18, 1994. Archived from the original on October 24, 2012 . Retrieved May 24, 2023.

Dawson, Jeff (1995a). Quentin Tarantino: The Cinema of Cool. New York and London: Applause. ISBN 1-55783-227-7. Bleiler,Richard "Forgotten Giant: Hoffman's Adventure". Purple Prose Magazine, November 1998, p. 3-12. Seal, Mark (February 13, 2013). "Cinema Tarantino: The Making of Pulp Fiction". Vanity Fair. Archived from the original on January 15, 2019 . Retrieved July 9, 2020. After the year 2000, several small independent publishers released magazines which published short fiction, either short stories or novel-length presentations, in the tradition of the pulp magazines of the early 20th century. This "New Pulp" is fiction written with the same sensibilities, linear storytelling, pattern of conflict, and phrases of original Pulp, but crafted by modern writers, artists, and publishers. These new stories are either completely original characters or new tales of established characters from Pulp past. Ebert, Roger (1997). Questions for the Movie Answer Man. Kansas City, Mo.: Andrews McMeel. ISBN 0-8362-2894-4.