In Pulp Fiction we see how Vincent (John Travolta) and the dealer are bringing Mia (Uma Thurman) back to life, after she had an overdose. In a medium shot the dealer explains to Vincent what to do. While the dealer is counting to three, the camera zooms into even tighter close ups of Vincent and Mia's face, the needle where the adrenaline is dribbling off, and the dealer and his pierced girlfriend's face. This effect is used to show how nervous the dealer is, how much his pierced girlfriend enjoys this spectacle, and how afraid Vincent is. The spectator is able to identify with all these emotions.
According to the feminist film theorist, Laura Mulvey, one of the most important pleasures of the classical narrative is identification. This is send to occur when the spectator narcissistically identifies with an idealized figure on screen, typically a male hero whose actions determine the narrative, in a process that recapitulates the discovery of the image of oneself in the mirror phase. For the scene just discussed, the idealized figure is Vincent, whom the spectators personally identifies with.
Then, to even increase the tension of this extraordinary scene, the camera zooms into the place where the needle has to push in, while there is no noise at all. As Vincent pushes the needle down, the camera shows... [continues]
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