Evaluation

Throughout my textual analysis I focused on the use of gender roles, emasculation of the male characters and Mulvey’s male gaze in the Tarantino films; Pulp Fiction, (1994); Jackie Brown, (1997); Kill Bill, (2003/04) and Death Proof, (2007). I decided to incorporate these aspects throughout my key frames in order to create an artifact in the style of the Tarantino films I have studied. I found that all of the above aspects were prominent in the majority of the texts, and therefore the incorporation of these aspects would result in a successful artefact inspired by Tarantino’s films.

One of the main aspects I was studying in my textual analysis was the switching of the stereotypical gender roles. Throughout my study, I researched into others’ own interpretations and analysis, including my own, to define whether Tarantino uses this theme throughout his work. I eventually came to the conclusion that, despite Tarantino’s Death Proof, (2007), the majority of my texts incorporate the reversal of stereotypical gender roles. This had been portrayed throughout the films; Pulp Fiction, (1994); Jackie Brown, (1997) and Kill Bill, (2003/04) through aspects such as the man adapting to a submissive role, whilst the female takes on a dominant, typically masculine characteristic, as we see in the opening scene of Pulp Fiction. We also see the stereotypical roles being reversed through the violent, macho female characters that Tarantino creates. For example, the fight in Kill Bill with Vernita and Beatrix conveys them with characteristics that signify a traditional male stereotype. The violence that is imposed upon the couple is through the use of household objects, making the reversal of the stereotypical roles become comedic and exaggerated.

The confirmation of the switching of gender roles lead me to incorporate this heavily into my key frames. As the key frames progress, the cinematography develops to show Sapphire's power. We see at the beginning that she is portrayed with sexualised close up shots and medium long shots. As the key frames continue, we see her portrayed from low angle shots to portray her hierarchy and position of power. Meanwhile, Zi's portrayal through cinematography decreases to show his suppressed position. We see him dominated by Sapphire when we are first met with Zi, in key frame no 7, being portrayed through a medium long shot, Sapphire sits strongly and assertively, whilst Zi is 'pushed into a corner' and seems to have a submissive portrayal.  Zi is then further emasculated through cinematography through key frame 8. Although Zi is looking at the waitress as a sexual object, the high angle shot conveys Zi as the weaker. We see how Zi's power and hierarchy as deteriorated through the use of flashbacks. For example in key frame no 12, Zi is portrayed through a low angle shot, portraying his power and control. 

Similarly, I have also reversed the typical gender roles in my key frames with the use of the milk and Budweiser. Drinking a beer from the bottle could be seen as a stereotypical masculine action, the fact this is carried out by Sapphire, whilst Zi drinks a glass of milk, confirms the reversal of the stereotypical gender roles.

Zi’s dialog is also very minimal in comparison to Sapphire, subtly hinting at his submissive position. 

The lighting and colour tones used in the key frames also portray the switching of the stereotypical gender roles. Sapphire's name conveys a strong powerful woman, whilst incorporating aspects of blaxploitation that Tarantino too uses throughout his work. The semi precious gemstone can be typically red. I have manipulated this and portrayed this throughout my key frames by using a subtle red tone on the majority of the frames. This portrays Zi's emasculation and Sapphire's power. This colour tone also creates an old look and feel to the key frames that Tarantino films such as Death Proof also have. The use of flashbacks have also been manipulated with colour toning. The flashback images have a subtle blue tone conveying Zi's power and control over Sapphire, who is the weak and submissive. 

I feel that the incorporation of the switching of stereotypical gender roles was successful as I portrayed this subtly, without over indulging and therefore creating an exact replica of the Tarantino films.

(603 words)

The second aspect that I analysed in my textual analysis is the emasculation of male characters. I found that Tarantino often makes his male characters become, as Emanuela Betti puts it, as the ‘butt of the joke’, whilst portraying women as strong and independent. I came to the conclusion that this is incorporated throughout all of the texts I studied. As a result of this, I ensured that I did the same in my key frames. I decided to heavily incorporate the use of phallic imagery around Sapphire to portray her with the masculinity that the male character has lost, resulting in emasculation. This is evident through key frame 4, 5, 11, 13, 15, 16 & 20. The use of the joint, Budweiser bottle and gun all convey that phallic imagery, which combined with Sapphire’s gender creates an ironic atmosphere, whilst emasculating Zi along with the prominent use of the glass of milk and high angle shots. 

However, the key frames that incorporate the most significant amounts of emasculation are 13, 14, & 16 where we see the threat of Zi’s castration by the use of phallic imagery, thus creating more ironic tones of emasculation.

Overall, I feel that I have incorporated this theme into my key frames sufficiently, however, if I were to complete this task again, I would alter Zi’s clothing throughout the flashbacks to portray his deterioration of masculinity.

(232 words)

I also analysed how far Mulvey’s male gaze theory applied to the Tarantino films I studied. I concluded that although Tarantino gives his female character dominance and a voice, this is often through their sexualisation. As a result of this finding, I decided again to incorporate this into my key frames. We see Sapphire, the dominant female being sexualised throughout. We see the male gaze in my key frames through aspects of voyeurism in key frames 2 & 3. Here, we only see Sapphire’s legs, which ultimately disconnects the spectator from her. Sapphire’s clothing is also fitted, emphasising her figure.  Similarly, key frame 5 & 6 sexualise Sapphire due to the focus of the camera on figure, creating her as a sexual object. 

I feel that I incorporated the male gaze subtly into the key frames, which did not subtract substance from the narrative.

(144 words)

Overall I feel that the aspects explored throughout my textual analysis have been incorporated into my key frames successfully without creating an exact replica of the Tarantino films or subtracting substance from the narrative. 

20 Keyframes

Keyframe 1

The first key frame includes a medium long shot of the setting for scene one. The frame is taken during the day and natural light pears through the window to portray Sapphire's contentment. The keyframes have been subtly edited with a red tone to link in with Tarantino's style and the background of Sapphire's name. In the texts that I have studied, Tarantino uses a subtle tone on his film to make the content look older. I decided to do this to my keyframes and to use a red tone when Sapphire is the dominant and a blue tone when she is most weak and dominated by Zi. 

For example, we see the red tone in the opening scene of Death Proof. 

Keyframe 2

The second keyframe consists of Sapphire turning the radio on with her foot. This explores many aspects that can be seen within the Tarantino texts I have studied. For example, in the beginning of Death Proof the male gaze is incorporated heavily by voyeuristic angles of the camera resulting in Jungle Julia being sexualised and objectified. I decided to incorporate this into my keyframes to show Sapphire's sexual dominance, similar to Mia Wallace in Pulp Fiction. The fact Sapphire is turning the radio on with her foot, and the rest of her cannot be seen is also relative throughout Tarantino films, as he uses the naked female foot as a sexualised fetish. I feel that this is a recognisable aspect used in the texts that I have studied, therefore the incorporation of this factor was important in order to make a creative artefact of the aspects studied in my chosen texts. 

Keyframe 3

The third keyframe again is heavily influenced by the opening scene in Death Proof.  As I previously mentioned, Jungle Julia is sexualised before the audience are met with her whole appearance and personality. The use of the high angle shot looking down on Sapphire incorporated the male gaze and voyeurism into my film, which I studied throughout the Tarantino texts. As I discovered throughout my textual analysis, Tarantino's Death Proof breaks from his norms as he portrays the female characters heavily through the voyeuristic male gaze. I wanted to incorporate this into my film whilst still creating Sapphire as a strong, dominant woman. This therefore links back to Stephanie Sutton's point about Tarantino compensating ‘for his masculine representations by creating hyper-sexualized female characters’.[i]

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[i] http://firesunderground.wordpress.com/2010/07/10/the-male-gaze-now-then-false-empowerment-in-tarantinos-films/

Keyframe 4

Keyframe 5

Keyframe 6

Keyframe 7

Keyframe 8

Keyframe 9

Keyframe 10

Keyframe 11

Keyframe 12

Keyframe 13

Keyframe 14

Keyframe 15

Keyframe 16

Keyframe 17

Keyframe 18

Keyframe 19

Keyframe 20

Treatment/Layout for Keyframes

Frame No.1

The film will begin with a still  medium long shot of Sapphire's apartment living room. The scene is set during the day, therefore there will be natural daylight in this shot. Within the shot, there is a yellow glass coffee table centred opposite to the grey sofa. There are newspaper articles neatly placed on the table, along with a gold metal tin, a red lighter and red lipstick. There is a red cow skin rug that lays across the wooden floor, this is centred off to the right of the shot. The red cow skin rug is the first hint of Sapphire's luxurious lifestyle. Everything on the set has it's own place, portraying Sapphire's control over her life. 

Frame No.2

The second keyframe will be a close up shot of a radio, Sapphire is pushing the ON button with her foot. We only see Sapphire's legs, which are bare. I have also incorporated an aspect that Tarantino uses throughout his films; female's feet, portraying sexuality and incorporating the male gaze. Because, at this point we only see Sapphire's bare legs, the audience may get the idea that she is not clothed, portraying an aspect of the male gaze. 

Frame No.3

The next keyframe will be a low level framing shot of Sapphire's legs, walking across the living room, from the radio to the sofa. I wanted to keep the camera at this level whilst she walks to incorporate the aspect of the male gaze and voyeurism, that I shall look at in my study.

My inspiration came from the opening scene in Death Proof.

Frame No.4

The next keyframe is a low angle shot of Sapphire sitting on the edge of the sofa. She is central of the shot. This portrays her importance. This is the first time we see Sapphire completely. She wears a fitted white t-shirt and blue casual shorts, she wears the red lipstick we can see on the coffee table. In the shot, Sapphire is lighting a joint with the red lighter, we previously saw laying on the table.

Frame No.5

Medium long shot of Sapphire stretched out along the sofa, her legs crossed at the ankles. This shot resembles Jungle Julia in Death Proof. In this shot we see Sapphire relaxed, however she is presented in a strong, sexual manner, similar to how Tarantino portrays his female characters.

The inspiration of this shot came from the opening scene in Death Proof.

Frame No.6

High angle shot taken from Sapphire's feet. Her head is tilted backward, she exhales the smoke upward. 

Frame No.7

The second scene opens with a medium long shot of Sapphire and Zi sitting in a booth in a diner. The placement of this shot is similar to much of Tarantino's work, where he uses a booth in a diner to convey the conversation and relationship between a couple.

There is a menu and condiments placed neatly on the side of the table, by the window. Sapphire is sitting up straight, her arms are crossed loosely and rest on the table; she wears a red dress and a fur coat. She wears the red lipstick that we previously saw in the first scene. Her bag rests next to her side on the booth seat. Her legs are neatly crossed underneath the table. 

Zi sits opposite her, he wears an unbuttoned Hawaiian shirt and a white vest underneath. A gold metal chain sits around his neck. He has a steady stare. Zi sits further back into the corner of the booth. His elbow rests against the edge of the table as he pinches his bottom lip. The pair begin to converse in irrelevant conversation. 

Frame No.8

Close up shot of Zi's face as he orders a glass of milk. This shot is filmed as a point of view shot through the waitress's eyes, we do not see the waitress at all. Zi directs all of his reactions to the camera. He realises the waitress's reaction (which we do not see). He pauses and stares at her. Smirking and raising an eyebrow, he patronisingly and sarcastically questions the word please. It is at this point that the shot will be taken.
As the waitress walks off, Zi snarls, staring and analysing her as she walks away.  

This links to how Tarantino sympathises with women, giving the waitress a point of view shot, portrays directly how Zi acts towards this woman. When she walks away, he analyses and stares at her, this is an aspect of the male gaze as it sexualises the waitress as a sex object, which therefore links to my thematic study. 

Frame No. 9

FLASHBACK: Close up shot of Zi's hand setting down a glass of cold milk on a counter.

Frame No.10

Medium long shot of Sapphire and Zi. Zi is holding up his glass of milk, gesturing to Sapphire. Zi stares at Sapphire strongly, whilst smiling at her sarcastically, showing his teeth.  

Frame No.11

Close up shot of Sapphire's hand holding up the Budweiser bottle to Zi's glass of milk. The drinks clink as they touch. 

Frame No.12

FLASHBACK: Low angle shot of Zi standing over Sapphire's dead parent's bodies that lie on the floor. The shot is taken as Zi takes a gulp of his milk. 

Frame No.13

Medium long shot of Sapphire and Zi sitting in the diner booth. Sapphire is leaning forward, her forearms are resting on the table, her bottom hovers over the seat. She holds a gun underneath the table to Zi's crotch, symbolising phallic imagery and her control and dominance over males. Zi is completely unaware of what is going on beneath the table. This resembles how Tarantino portrays male characters as the 'butt of the joke', unaware and goofy.
This shot will be similar to Inglorious Basterds,  another film by Tarantino.

Frame No.14

Medium long shot: "Don't you know who I am Zi?" Her foot presses in between Zi's legs, resting on the diner booth seat. Zi looks down at where Sapphire's foot rests, he is uneasy and concerned. Again, portrayed as the 'butt of the joke' due to his emasculation. The inspiration for this shot came from the lap dance scene in Death Proof. I decided to incorporate this aspect into my film as I believe it shows dominance and power of the woman over the man.

Frame No.15

Medium close up shot of Sapphire. She is holding the Budweiser bottle in her left hand, the gun still pointed at Zi's crotch underneath the table. Sapphire's name appears in a bold yellow font across the screen. This is incorporated into the majority of Tarantino's films to reinforce the fact that you are watching a film, rather than immersing the audience completely into the film.

Frame No.16

Close up shot of the gun pointing at Zi's crotch. Emasculating Zi. Once again, similar to the scene in Inglorious Basterds; Tarantino uses this idea many times throughout his work, which greatly emasculates the male character.

Frame No.17

Sapphire stands in front of a crowd of women around the mirror in the diner bathroom. Shallow focus, extreme close up of Sapphire's eyes. The shallow focus portrays the other women in the background being irrelevant to Sapphire. She is central of the shot. She stares strongly into the camera. The camera resembles the mirror at this point in the film. The lighting is dim and poor due to the weak bathroom lighting. This is a similar shot used in one of the texts in which I am studying Pulp Fiction. In the below shot, Mia Wallace is central in the bathroom mirror, therefore the attention of the audience is on her, symbolising her importance and the other character's irrelevance.

Frame No.18

FLASHBACK: four years earlier, Sapphire's parent's apartment. The lighting is weak, however it is day time. There is natural light trying to peep in between the slats of the shutters. Close up shot, very similar to the previous, however this time Sapphire is 16 and her eyes are squeezed tightly shut. She wears her hair is two braids. A foot and a pool of blood lay on the floor, slightly off centre, behind Sapphire. I have decided to incorporate this flashback into my film as I believe that this helps the audience sympathise with the female characters. It is often that Tarantino will only justify a woman's actions with a backstory rather than a man's. This flashback is inspired by O'ren's in Kill Bill.

Frame No.19

Extreme close up shot of Sapphire's eyes open, staring strongly into the camera. Almost the same shot as the bathroom scene. This shot is inspired both by the bathroom scene with Mia Wallace and the flashback scene with the close up of O'ren's face.

Frame No.20

Back at the bathroom diner. The lighting is the same as before, it is a minute later. Medium close up, shallow shot of Sapphire. She lights a joint that she has just pulled out from the gold metal tin. She is slyly smiling in the mirror, and blows smoke onto the mirror. The camera resembles the mirror. 

Screenplay

Recce Report

Casting Considerations

Synopsis

My film is centred around the protagonist, Sapphire and her relationship with the drug dealer, Zi. 

Sapphire is a young woman who is affected by seeing her parents murder. In the present, Sapphire is 20 years old and is out to seek the man who caused her parent's death. Her parents were involved in a drug war and were murdered by the drug dealer Zi, when Sapphire was 16.
We, the audience do not know any of this background information until Zi has been killed, therefore the film does not have a linear structure.
When Sapphire and Zi meet in the diner, Sapphire is in control of their irrelevant conversation, whilst holding a gun to his crotch underneath the table.
Sapphire shoots Zi (switching of stereotypical gender roles). She walks off to the bathroom, where she applies red lipstick.
The flashbacks of Sapphire's parents being murdered is similar to Tarantino's backstories of women, which makes the audience sympathise with these characters.

Throughout the present scenes in the film, Sapphire is portrayed as a strong, dominating woman who definitely has control over Zi in the diner scene. (Relating to Tarantino's representation of macho women and the idea of switching male/female roles) however we see this was not always the case when we are shown her backstory. Sapphire's name also relates to Tarantino's representation of macho women and the switching of male/female roles. (The name Sapphire was a commonly used name for black caricatures during the 1920-1960s. Who's characteristics were stubborn and overbearing. This also relates to the theme of Blaxpoitation)
The symbolism of the red lipstick also relates to Sapphire's name and the symbolism of the colour red.

Naming my characters

Throughout planning I have been naming the protagonist Black woman. However, I did not want this to be her name throughout the actual film.

In my film I shall use a lot of symbolism, for example the red lipstick that the protagonist applies. I used this idea to think of the name for my protagonist; Sapphire. I wanted the name of my protagonist to have an actual meaning behind it. Not only does the Sapphire gemstone come in shades of red, the name also has a racial background. I thought that this would tie in Tarantino's use of Blaxploitation perfectly, but subtly. 

"The Sapphire Caricature portrays black women as rude, loud, malicious, stubborn, and overbearing" By using this name for my film, it will subtly link in with my research question; Does Quentin Tarantino portray women as Macho? 

"It was not until the Amos 'n' Andy radio show that the characterisation of African American women as domineering, aggressive, and emasculating shrews became popularly associated with the name Sapphire. The show was conceived by Freeman Gosden and Charles Correll, two white actors who portrayed the characters Amos Jones and Andy Brown by mimicking and mocking black behaviour and dialect. At its best, Amos 'n' Andy was a situational comedy; at its worse, it was an auditory minstrel show.² The show, with a mostly-white cast, aired on the radio from 1928 to 1960, with intermittent interruptions. The television version of the show, with network television's first all-black cast, aired on CBS from 1951-53, with syndicated reruns from 1954 to 1966. It was removed, in large part, through the efforts of the National Association for the Advancement of Coloured People and the civil rights movement. Both as a radio show3 and television show, Amos 'n' Andy was extremely popular, and this was unfortunate for African Americans because it popularised racial caricatures of blacks. Americans learned that blacks were comical, not as actors but as a race." 

http://www.ferris.edu/jimcrow/sapphire/

I have decided to call the drug dealer/man who gets shot Zi. I decided to call him this as I thought it was a tacky, drug dealer nickname that Tarantino may use.

The other characters, such as the parents in the memory scene and the women in the background of the bathroom scene, shall be nameless has they will not have dialog or be the main focus of the film.

Brief Outline

Scene One

The scene begins with the set of a living room, the main focus of the shot being a sofa. The black woman walks across in front of the scene, sits down on the sofa; she picks up the rolled joint which is sitting on the coffee table and lights the joint. She inhales, twists around on the sofa, stretches out her legs and crosses them at the ankles. The song, Jeepster, Trex is playing in the background of the radio.

As she inhales, she stretches her legs. She exhales, tilting her head and blowing the smoke upward. 

Scene Two: Diner

Black woman and man sitting in a booth in a diner. The Black woman again, is the main focus of the shot. Although she is not centred, we see by her body language that she is dominating the man. Throughout the scene however, blocking is used (although the characters do not move, the camera does.) The man is sitting further back in the corner of the diner sofa, almost slumped.
Their conversation is irrelevant, however she is in control of it.
The camera will then pan to underneath the table, where she is holding a gun to his crotch. The irrelevant conversation continues
Gun is shot.

Scene Three: Bathroom
Rumble, Link Wray is playing in the background in the diner.
Black woman walks off, leaving the man dead.
Black woman walks into the bathroom, walks up to the front of the mirror, pushing her way through other women. She looks in her bag and takes out red lipstick and reapplies it. She is the centre of the shot, which is a shallow shot. The women in the background are slightly blurred. This portrays their insignificance in relation to Black woman. She pulls her head back slowly to look at her reflection better. Extreme close up of her eyes.

Scene Four : A memory
Extreme close up of Black woman's young self's eyes, zooms out. She squeezes her eyes shut, which in turn creates a blackout.
The shot reopens blurred, portraying in a point of view shot, her parents being murdered. She is hiding. Close up : Black woman's young self looks down then strongly into the camera.

Scene Five : Bathroom x2
Rumble, Link Wray continues from the previous bathroom scene, fading in.
Fades into Black woman looking strongly into the camera/mirror. The women still in the background blurred, like how her parents were in the previous scene. She takes out a joint that she keeps in a gold metal tin. She lights it.
She inhales, smiles slyly and blows smoke into the screen.

Brief overview/breakdown of key texts

How how hav previous films influenced contemporary films? Pan geria and foxy brown, shaft b movies made to reach a black audience 

Death proof- vanishing point 

Is Tarantino responsible for switching the stereotypical gender roles around in his films?

How far do you agree that Tarantino portrays women as 'Macho'?

How accurate is Laura Muvley's Male Gaze theory in relation to my Tarantino key texts?

In Tarantino's films, he often provides a backstory for the characters in which he wants the audience to connect with. This, arguably is mainly women. For example; Shosanna in Inglorious Basterds, the first set of women in Death Proof, and Bearrix (The Bride) and O-ren in Kill Bill. It is not often that Tarantino will provide a backstory for the male characters, as their actions should be deemed as unfair and unjust, making them the butt of the joke or the 'bad guy' with no cause. Tarantino imitates a females point of view by providing a backstory scene, this in my opinion, makes it so he is not being sexually biased and contributing to the Male Gaze theory. However, it is important to remember that Tarantino is a white male, and therefore will contribute to the Male Gaze to some extent. 

Pulp Fiction: non linear structure

-focuses mainly around Marcellus, although he is rarely in the scenes

-2 hit men working for Marcellus, go to get the money from a few men living in an apartment, who owe money to Marcellus, this ends up in a mass killing. 

- one of the hit men, John Travolta ( Vincet Vega) is told by Marcellus to take his wife, Mia out for dinner whilst he is away. 

- Mia is clearly a strong, powerful woman who dominates the conversation and night between herself and Vincent Sucking on cherry, asking if he wants a sip of her milkshake, making him dance in the competition. 

-Mia overdoses on the 'cociane' that Vincent has in his jacket pocket (going through his private possessions) however, this is heroine and she does not realise that she ODs. 

-she is then taken to Vincent's friend's house where they revive her; there is no 'hero' in this scene, neither of the two males portray stereotypical masculinity 

-skipping forward to another powerful woman... We are met with Butch and his girlfriend Fabienne. 

-although Fabienne is not deemed as powerful and in control in the same way as Mia Wallace, Fabienne uses her stereotypical feminity. She portrays herself as weak and powerless however this characteristic reverses to Butch and therefore emasculated him, he is in her power. 

-at the beginning and end we are met with HunnyBunny and Pumpkin.  HunnyBunny clearly controls the the relationship, and we can see this through her body language. She also takes the centre of the shot and uses blocking when holding the gun. 

List of controlling and powerful women & how the act/what they do to emasculate men:

-Mia Wallace : in tune with her sexuality, sucking on a red cherry and looking sexually in the diner, invading Vincent's privacy when they met ( can see Vincent through cameras. Voyeurism; although this is usually viewed through the male perspective.), she also goes through Vincent's jacket and uses the heroine that she finds. 

-Fabienne : in tune with her feminity, she uses this to persuade Butch and control him into forgiving her and getting her own way. Portrays herself as weak, however this in turn emasculates Butch. Curling up in the corner when being shouted at. 

-HunnyBunny : strong body language, always  in the centre of the shot, blocking Pumpkin. She emasculates Pumpkin by controlling the conversation, interrupting him, sitting up straight to portray looking down on him. 

List of male characters and their development to emasculation: 

Marcellus : at the beginning we only see the back of Marcellus's head we get the idea that he is a powerful man, due to the scar located on the back of his head, and the gossip about what he did to the man who gave his wife a foot rub. However, we see Marcellus's character emasculate throughout the film as he eventually gets raped and called racist names, this portrays his character downfall 

Vincent Vega and Jules Winnfield : at the beginning their hierarchy is clear, the shot of them looking the the boot of the car is filmed as a low angle shot to portray their importance and control. However, at the end of the 

film they are presented in 'goofy' looking t-shirts and shorts, this portrays their emasculation in comparison to the beginning scene where they are in sharp looking black suits. 

List of controlling and powerful women & how the act/what they do to emasculate men:

List of male characters and their development to emasculation: 

Hans : at the beginning of the film, Hans has a huge amount of power and control, so much that he can act calmly in this situation.  Hans kills all of Shosanna's family with his power and control, and completely emasculates the French farm owner with his presence. However, Hans is emasculated at the end of the film as the deal between him and Aldo is twisted. Aldo results in branding him with the Nazi logo on his forehead. It is not a woman who emasculates Hans but Aldo himself, however one could argue that this only occurs because of Shosanna / Bridget's plan and success to kill the nazis in the cinema. 

Death Proof: The film is almost split into two parts, the first half we are met with 3 women, including their back stories.

- the first half the of the film we are met with 3 very sexualised women; Jungle Julia, Shanna, Arlene and also Pam. 

-these women have been 'Stalked' by Stuntman Mike 

- all of these women play on their sexuality to tease Mike

- this however does not end well for them 

In the second half...

- Stuntman Mike messes with the wrong women 

-although they are too sexual, they are also strong and powerful and do not let Stuntman Mike defeat them 

- Zoe, Kim, Abernathy and Lee 

List of controlling and powerful women & how the act/what they do to emasculate men: