'Ars of the feasible': an aesthetics of the speculative in Quentin Tarantino's Pulp Fiction

Abstract

This article analyzes Pulp Fiction, director Quentin Tarantino's second film, as a cultural product, whose artistic style responds to a speculative aesthetic. With this intention of analysis we intend to show how the functionality of an art of the feasible (ars de lo factible) is characterized in this film by the formation of a narrative nature that responds to a constant opening of possibilities through a fragmentary sequence based on a persistent rupture of the continuity of the action, but that through this enrichment of significant variety of the discourse will give rise to a resolution that is positioned outside the traditional regulations. This cause an original cinematographic language for its temporal circumstance and that it is current today due to the ontological and phenomenological thinking that is represented in the fictional individual of the film.