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Tarantino is a director who doesn’t shy away from an extreme close-up. In fact, he loves them. In the second of a series of four films (watch part one which focuses on sound here) exploring the films of this enfant terrible of modern American cinema, Jacob T. Swinney looks at how the director utilizes the technique in his movies.

Taking in the director’s back catalogue from 1992’s Reservoir Dogs to 2012’s Django Unchained Swinney notes, “The shots are often used to convey the gravity of a particular situation or the manipulative strength of a character’s vice. Some express power, some express weakness, and others just simply look cool.”

The supercut is scored to “Son of a Preacher Man” by Dusty Springfield and “Jungle Boogie” by Kool & the Gang, both of which feature in Pulp Fiction.

And my own personal favorite, all-time number one Tarantino close-up has to be when Mia Wallace (Uma Thurman) gets brought back to life by Vincent Vega (John Travolta), that scene gets me every time.

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