Five reasons why "Kill Bill: Vol. 1" is Postmodern

1. Quentin Tarantino’s "Kill Bill: Vol. 1" consists of numerous parodies on various aspects of people's lives and references to the works of other directors. For example, a scene in a hospital, actress Daryl Hannah in a nurse suit and Bernard Herrmann's music is a collective quotation from several works by American film director Brian De Palma. The stern Sonny Chiba, who plays master of swords Hattori Hanzo - is a whole era in the genre cinema of Japan. And the scene of O-Ren Ishii's death is quoting the finale of the Japanese historical thriller "Lady Snowblood" (1973). "Kill Bill: Vol. 1" has a fairly impressive list of quotes.

2. There are a lot of exaggerated violence on this film, the direct task of which, shock the viewer, impress, or create the mood necessary for the film. For example, the battle between Black Mamba and thugs in the House of Blue Leaves. Twenty-minute fight of our main heroine with the bodyguards of O-Ren Ishii, the head of the Tokyo mafia, is hyperbolized to the limit: incredible fighting techniques, 57 corpses and a sea of ​​fake blood.

3. "Kill Bill: Vol. 1" has a narrative nonlinearity and division on chapters with subheads. Tarantino’s script has a complex structure. Elements of the narrative in this film are scattered in time and the story lines are intertwined.

4. The stylistic nature of Tarantino's "Kill Bill: Vol. 1" is also unusual. 

External aesthetics are on the verge of shocking, dominating over the content, and genre canons are easily mixed and vary (for example, the range of genre in this film varies from spaghetti western to anime).

5. Music in "Kill Bill: Vol. 1" works not only to create an atmosphere and mood, but often sets the rhythm of the scene. The necessary effect is sometimes achieved in a non-standard way. In fact, music and sound do not correspond to the place of action, but emotionally it is well harmonised with all that is happening. The scene of the battle between O-Ren Ishii and Black Mamba with samurai swords in a small winter garden of Japan in the snow is accompanied by passionate and hot Spanish motives (tunes).