Rosaline Honeycock

It’s always a fun trick to try and nail down what’s really distinctive about Tarantino dialogue: here it reveals itself as language which seems full of inside jokes and references to which the viewer is not privy as well as cliched aphorisms and altruisms delivered with clearly purposeful awkwardness.  When thinking about Tarantino dialogue I’m tempted to say that the significance of these conventions has to do with bricolage (as do so many style choices of Tarantino and probably Lady Gaga).  All this cryptic-but-banal, slick-but-goofy phrasing makes obvious the radical over-saturation of speaking - and by extension meaning itself - in the information and mass-media age.  Viewers as well as characters are lost in a sea of discourses produced so fast as to be radically unfinished and almost nonsensical.