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20 Surprising Facts About Pulp Fiction | Mental Floss
The Silence of the Lambs The Dark Knight The Shawshank Redemption Saving Private Ryan The Lord of the Rings: The Return of the King Edit Cast Cast overview, first billed only: Honey Bunny Laura Lovelace Vincent Vega Samuel L. Jules Winnfield Phil LaMarr Butch Coolidge Ving Rhames Marsellus Wallace Paul Calderon Just because you are a character doesn't mean you have character.
Edit Details Official Sites: Official Facebook Official site. Edit Did You Know? Goofs at around 1h 50 mins At the start of "The Bonnie Situation" the kid with the hand cannon has his pants unbuttoned but when he comes out of the bathroom shooting they are buttoned. Quotes [ first lines ] Pumpkin: I'm through doing that shit. You always say that. The font, as it turns out, was Franklin Gothic, and, as a year-old, all I remember was that I would start to draw the "S" and then realize that my "S" didn't look like Franklin Gothic's "S," and that the curvy letters, like "G" and "O," didn't look right when they sat on the lines I'd made for the other letters, because of course for a font, the curvy letters have to be a little bit bigger than the straight letters, or else they end up looking too small.
I became fascinated with that kind of thing, how one font would give off one kind of feeling, and other one would give off a completely different feeling. And it turns out there's a reason for all of that, that every font carries with it a specific cultural connotation whether the reader is aware of it or not. When I drive down the street in LA, I see billboards and I can't just look at one and say "Okay, got it," I get a whole other layer of meaning from them because their design and font choices tell me a whole history of the people who designed them.
While Alcott discovers many of his visuals online, he has a soft spot for the battered originals he finds in second hand shops.
Their wear and tear confers the sort of verisimilitude he seeks. The rest is equal parts inspiration, Photoshop, and a growing understanding of a design form he once dismissed as the tawdry fruit of Low Culture:. I'd never understood pulp design until I started this project. And that's what great design is, a graphic representation of ideas. When I started examining the designs, to see why some work and some don't, I was overwhelmed with the sheer amount of artistry involved in the covers. Pulp was a huge cultural force, there were dozens of magazines and publishers, cranking out stuff every month for decades, detective stories and police stories and noir stories and mysteries.
It employed thousands of artists, writers and painters and illustrators. And the energy of the paintings is just off the charts. It had to be, because any given book cover had to compete with the ten thousand other covers that were on display. It had to grab the viewer fast, and make that person pick up the book instead of some other book. I love all kinds of midcentury stuff, but nothing grabs you the way a good pulp cover does. I know I could find more popular contemporary artists to make tributes for, but these are the artists I love, I connect to their work on a deep level, and I try to make things that they would see and think "Yeah, this guy gets me.
My favorite thing is when people think the pieces are real. That's the highest compliment I can receive. I've had band members contact me and say "Where did you find this? Combined with the decrease in slick magazine fiction markets, writers attempting to support themselves by creating fiction switched to novels and book-length anthologies of shorter pieces. Some ex-pulp writers like Hugh B.
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Cave and Robert Leslie Bellem moved on to writing for television by the s. Pulp magazines often contained a wide variety of genre fiction , including, but not limited to,. The American Old West was a mainstay genre of early turn of the 20th century novels as well as later pulp magazines, and lasted longest of all the traditional pulps. In many ways, the later men's adventure "the sweats" was the replacement of pulps. Many classic science fiction and crime novels were originally serialized in pulp magazines such as Weird Tales , Amazing Stories , and Black Mask.
While the majority of pulp magazines were anthology titles featuring many different authors, characters and settings, some of the most enduring magazines were those that featured a single recurring character. These were often referred to as "hero pulps" because the recurring character was almost always a larger-than-life hero in the mold of Doc Savage or The Shadow.
Popular pulp characters who appeared in anthology titles such as All-Story or Weird Tales:. Pulp covers were printed in color on higher-quality slick paper. They were famous for their half-dressed damsels in distress , usually awaiting a rescuing hero.
Cover art played a major part in the marketing of pulp magazines. The early pulp magazines could boast covers by some distinguished American artists; The Popular Magazine had covers by N. Among the most famous pulp artists were Walter Baumhofer , Earle K.
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Ward , George Rozen , and Rudolph Belarski. Later pulps began to feature interior illustrations, depicting elements of the stories. The drawings were printed in black ink on the same cream-colored paper used for the text, and had to use specific techniques to avoid blotting on the coarse texture of the cheap pulp. Thus, fine lines and heavy detail were usually not an option.
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Shading was by crosshatching or pointillism , and even that had to be limited and coarse. Usually the art was black lines on the paper's background, but Finlay and a few others did some work that was primarily white lines against large dark areas. Another way pulps kept costs down was by paying authors less than other markets; thus many eminent authors started out in the pulps before they were successful enough to sell to better-paying markets, and similarly, well-known authors whose careers were slumping or who wanted a few quick dollars could bolster their income with sales to pulps.
Additionally, some of the earlier pulps solicited stories from amateurs who were quite happy to see their words in print and could thus be paid token amounts. There were also career pulp writers, capable of turning out huge amounts of prose on a steady basis, often with the aid of dictation to stenographers , machines or typists. Before he became a novelist, Upton Sinclair was turning out at least 8, words per day seven days a week for the pulps, keeping two stenographers fully employed.
Pulps would often have their authors use multiple pen names so that they could use multiple stories by the same person in one issue, or use a given author's stories in three or more successive issues, while still appearing to have varied content. One advantage pulps provided to authors was that they paid upon acceptance for material instead of on publication; since a story might be accepted months or even years before publication, to a working writer this was a crucial difference in cash flow. Some pulp editors became known for cultivating good fiction and interesting features in their magazines.
Sinclair Lewis , first American winner of the Nobel Prize in Literature , worked as an editor for Adventure , writing filler paragraphs brief facts or amusing anecdotes designed to fill small gaps in page layout , advertising copy and a few stories. The term pulp fiction can also refer to mass market paperbacks since the s. Many of the paperback houses that contributed to the decline of the genre—Ace, Dell, Avon, among others—were actually started by pulp magazine publishers. They had the presses, the expertise, and the newsstand distribution networks which made the success of the mass-market paperback possible.
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These pulp-oriented paperback houses mined the old magazines for reprints. This kept pulp literature, if not pulp magazines, alive. In , Rich W. Harvey came out with a magazine called Pulp Adventures reprinting old classics.