http://www.btchflcks.com/2012/12/the-gender-situation-in-pulp-fiction.html#.VA74KkrXjH0
"Vincent tells Jules that Marcellus asked him to take his wife Mia out, and it’s clear that this woman invokes intimidation in men. Vincent goes to Lance’s house (his drug dealer) to purchase some heroin. He self-medicates before going to pick up Mia. She’s left a note on the door to come in, and she watched Vincent enter the house on security camera footage and speaks to him over an intercom. She is god-like in this scene (and while it fits the narrative, we know that Uma Thurman is also a god/muse to Tarantino)."
"“Truth is, nobody knows why Marsellus threw Tony out of that fourth-story window except Marsellus and Tony. When you little scamps get together, you’re worse than a sewing circle.”
Here, the men are gossiping and being “silly,” which are most often the stereotyped flaws of female characters."
When he’s back at the hotel room with his girlfriend Fabienne, the two share intimate moments and comedic dialogue. Fabienne seems silly and child-like, but Butch is sweet and respectful to her (although he erupts when he realizes she’s forgotten the watch, he quickly apologizes and says he was to blame). As she’s lying on the bed wishing for a pot belly, she says:
| Jules and Vincent have been scrubbed clean and left to look like “dorks,” somehow emasculated without their black suits. |
“I don’t give a damn what men find attractive. It’s unfortunate what we find pleasing to the touch and pleasing to the eye is seldom the same.”
When they drop the cleaned-out car to Monster Joe’s Truck and Tow, Joe’s daughter Racquel comes to meet them. The Wolf says, “Someday, all this will be hers.” This is a nod to the next generation of gender roles–whether it be women running junk yards, crime rings or killing sprees, Tarantino’s women are not shut in dainty boxes.
2. Death Proof
Molly Haskell, From Reverence to Rape: The Treatment of Women in Movies (1974) "she suggested that film reflects society and vice versa and in so doing reflects the ideological and social construction of women who are either to be revered (as the Virgin) or reviled (as the whore)" The women are sexualised in Death Proof and are murdered due to this.
Like the previous women, they are also targeted by Stuntman Mike, and subsequently chased and attacked. But this time, the women are on par with their aggressor—they can drive just as fast, and they’re just dangerous as him. The car chase between Stuntman Mike and the women is incredibly exciting, because now the roles have been reversed—the women are the ones chasing Stuntman Mike, creeping up on him the same way he stalked and crept up on the previous women, and when they catch up they’re not forgiving. As much criticism this movie has received, when you watch the women exulting at the end, there’s no doubt that this is a movie for women, and not against them.
http://www.btchflcks.com/2013/11/revenge-of-the-pussycats-an-ode-to-tarantino-and-his-women.html#.VA8Lq0rXjH0
3.Kill Bill Vo1/2
the lead character, and many other characters are females, which is unusual for an action-based film. The protagonist of the film is ‘The Bride’, played by Uma Thurman.
http://www.studiohem.com/richardhemery/essay-femalerepresentationincinema.htm
5.Jackie Brown
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