First of all, Quentin Tarantino somewhat adheres to the Classical Hollywood Editing System. One rule from the Classical Hollywood Editing System that Quentin Tarantino adheres to throughout the movie is the 180 degree rule. In other words, he does not seem to cross the axis of action. However, there are times when the director breaks with the Classical Hollywood Editing System and one way he does this is by having a discontinuous editing system. One example is the end of the movie. Under the rule of continuity editing, it should have been following the beginning of the film. The director, however, did not seem to use crosscutting, which could have worked in his film and makes him adhere to the continuity editing system.
As mentioned before, Tarantino is purposely sometimes following and breaking the Classical Hollywood System. One good reason for this is to include other styles of cinema, which would include Film Noir and Surrealism. Among all the other styles present in the film, Film Noir and Surrealism seem to be the most obvious. Throughout the movie, Tarantino parodies these films styles along with many others. Film Noir is one of the most noticeable styles in the movie. First of all, one important aspect of film noir is the fact that each character has no clear moral base. This is very true in Pulp Fiction, especially with Samuel L. Jackson’s character, Jules.