Cuss & Cake, February 6 2020
Preface
If this piece seems a little different to the usual style and tone on this site, that’s because it is. This was written as part of a dissertation and was edited again and again (add more again’s) to fit university standards and criteria. The author has tried to remain subjective, as is their usual personal style, while carefully staying within the rigid box of what is expected in the current educational system requirements. That said if you like film, stories and Tarantino (we do) then read on!
Abstract
In answering this question this essay will examine the psychological reasons behind the creation of a fictional world, the narrative structure of the fairytale and its use to rewrite historical facts.
It suggests how this could be true of Quentin Tarantiono as an individual and why this is relevant to Once Upon a Time in Hollywood. This will involve defining the terms of paracosm and heterocosm and give examples of how these ideas are extended to an audience.
A background on fairytale theory will be explored in its original form looking at Vladimir Propp – Soviet Folklorist, and the key characters within the fairytale structure will be defined. Propp’s analysis will be used with Once Upon a Time in Hollywood in a brief synopsis of the film.
An analysis of what is real within the fiction will include a historical background of the period and public knowledge of historical events relating to the Manson Murders. This will determine who is real in the film and how these people are portrayed. In the same vein, what is real about the actors who play the fictional characters will be considered as they are integrated into the plot and seeing how this affects the viewer.
Playing with these layers of perception, a look at how this affects an audience emotionally will be proposed. Based on these ideas, how the narrative might cause the expectations of the audience to change and why.
This essay concludes by showing that in using the conventions of the fairytale to rewrite historical facts in Once Upon a Time in Hollywood, Quentin Tarantino creates an unconscious desire in the viewer for an alternate happy ending.
It considers how the film is presented in its entirety, as a personal homage by the director and also as a spoof of this period in Hollywood history.The wider implications are considered in that by changing the narrative this gives an audience the opportunity to imagine for themselves how things could have been different, in their own lives, if given the chance.
Creation of a Fantasy
‘During a peripatetic childhood of material and emotional deprivation, at least as he remembered it, he began drawing and retreating into his own imaginative worlds. That set a pattern. His life would become an ongoing effort to devise what psychologists call a “paracosm,” an invented universe, that he could control as he could not control reality.’ – Walt Disney: The Biography (Gabler, 2011, p.Introduction xvi)
There can be many reasons why one’s mind might create an alternate fantasy world. As a coping mechanism after significant loss, a death, a traumatic incident or simply as a means of entertainment for an only child. The act of doing this in childhood is known, in psychology terms, as a paracosm.
‘The term Paracosm was coined during a study in the mid-1970s undertaken by British psychiatrist Stephen A. MacKeith in partnership with Robert Silvey, and is now used to describe a complex and richly detailed imaginary world created by an individual, or group of individuals over the span of a number of years.’ (Janes, n.d.)
Some examples of well-known works that started as paracosms are; Alice’s Adventures in Wonderland (Carroll, 1865), The Chronicles of Narnia (Lewis, 1950) and the world of Middle Earth written about in The Lord Of the Rings (Tolkien, 1955).
It is important here to distinguish the difference between a paracosm and a heterocosm. A paracosm is conceived in the mind and used in play. It can be written about and shared with an immediate circle of people. When it is published or produced in a form that is accessible to the public it becomes a heterocosm.
The story of Alice’s Adventures Underground(Carroll, 1862), began as a paracosm when made up and told to ten-year-old Alice Liddell and her sisters in 1862. It remained a paracosm when Charles Dodgson gave her a handwritten version as a Christmas present in 1864. But as soon as Alice’s Adventures in Wonderland was published in 1865 it became a heterocosm.
As Kristin Petrella writes in her study ‘The Paracosmic Approach to the Private Worlds of Lewis Carroll and the Brontës’: ‘It is important here to delimit the boundaries of the paracosm and differentiate it from the heterocosm. According to M.H. Abrams in The Mirror and The Lamp, a heterocosm is a “second nature” invented by an author “in an act analogous to God’s creation of the world” (272), and as such manifests a microcosm born of the writer’s imagination—a complete and fully realized invented world. The poem, story, or play is the vehicle by which the author conveys this invented world to the larger public.’ (Abrams, 1971 cited in Petrella, 2009)
A paracosm or heterocosm does not have to be so far fetched a fantasy as some of the examples given above. In the case of Tarantino’s fictional world, referred to by his fans as The Tarrantinoverse, his creation is only slightly removed from the one he inhabits. Although things appear to be the same at first glance differences are ranging from tiny (a brand of cigarettes) to hugely significant (blowing up Adolf Hitler in a movie theatre). Therefore all of his films can be seen to be placed in an alternate dimension that runs parallel, only slightly removed from our own. Using this device Tarantino plays a game with his audience. He is not transporting the viewer to a faraway fantasy land, but one that is so close we find ourselves second guessing and checking what we know, or think we know to be true about our own world and it’s history.
“It’s like 4 o’clock in the morning; I’m writing by myself. And then I finally decide, ‘Just kill him.’ So, I took a piece of paper and I wrote on it, ‘Just f-ing kill him.” Quentin Tarantino killing Hitler in Inglourious Basterds (Jimmy Kimmel Live, 2019)
As a child, Quentin Tarantino was already playing in his own imaginary world.
‘His mother would hear foul-mouthed imprecations echoing through his bedroom door. Bursting in, she would find [him] creating scenes with his G.I. Joes, claiming it wasn’t his fault that they swore, it was just how his characters spoke.’ (Nathan, 2019 p.14 )
Using this means of escapism and communicating it via the narrative form so embedded in our culture, Tarantino creates in his audience a fan base that is in effect playmates en masse not just willing to accommodate his fantasies but to revel in them.
A Background on fairy tale theory
‘All my movies are achingly personal,” he insists. “People who really know me can see that in my work. In a film, I may be talking about a bomb in a theatre, but that’s not what I’m really talking about.” As he says this he laughs an evasive, slightly goading laugh. So, what is he really talking about? “Well, it’s not my job to tell you,” he says. “My job is to hide it.’ Quentin Tarantino interview for The Telegraph (Secher, 2010)
Vladimir Propp 1895 – 1970 – Soviet Folklorist, analysed the basic structural elements of Russian fairy tales to identify their simplest irreducible structural units. This structure remains the same today and can be found in most feature films and all fairytale genre films. For example; Any Disney film from Snow White and the Seven Dwarfs (1937) to Frozen(2013) will have the same structural elements regardless of the setting, time, sex of the hero or whether the characters involved are human or animals.
Propp’s study established the components of a fairy tale story, along with these eight basic characters are present, in some form, that will fulfil a set of required actions within the narrative.
The eight basic characters along with their required actions are;
- The Hero, who is sent on a quest to attain some goal.
- The Villain, an evil character who will create struggles for the hero. When the Villain enters the story he will sneak up on foot and make an attempt at reconnaissance obtaining information about the victim.
- The Dispatcher will send the hero on his quest and usually gives advice or order on what not to do. When advice or order is given it is ignored or disobeyed in the beginning.
- A Helper who will aid the hero in his quest throughout giving support and guidance.
- A Donor will question or interrogate the hero and give the hero something on the journey either in the form of a gift (often magic) or in the form of knowledge, a clue or advice.
- A Princess (or prize) in need of rescue by the hero and often the intended prey of the Villian. Often has a small role.
- The False Hero takes credit for the hero’s actions/appears heroic throughout therefore can be mistaken for the hero.
- The Princess’s Father one who protects the princess and rewards the hero for saving her, this can be in the form of her hand in marriage, a prize or public recognition. Propp mentions this role can be hard to distinguish.
In some cases, two minor characters, not the hero or villain, can merge e.g. The Dispatcher and the Princess’s Father could be the same person but would still fulfil the separate tasks or roles in moving the story forward. It is also worth mentioning that not all characters need to have an active role in the narrative but their task is still fulfilled e.g ‘The hero and the princess are wed and live happily ever after’ indicates that the princess’s father agreed to this union without the need of it being written or seen.
Narratology has been studied in anthropology as far back as Aristotle. It is agreed that modern theory started with Vladimir Propp. More commonly known, and often used in the analysis of film narrative, is Joseph Campbell’s book The Hero with a Thousand Faces (1949). For the purpose of this essay with a focus on fairytale in particular Vladimir Propp is used.
(For More information on Joseph Campbell please refer to Appendix A).
Propp’s analysis used with Once upon a time in Hollywood
~ a fairytale by Quentin Tarrantino
Note ~ For this analysis, the first name of the fictional characters and the full or last name of the characters that are historically real in the story have been used purposely. The points that relate to Propp’s analysis have been underlined.
Once upon a time, the TV star Hero Rick Dalton, fears his career is coming to an end. Accompanied by his stunt double (false hero) and Helper Cliff Booth, he meets with Marvin Schwarz The Dispatcher who advises him to go to Italy on a quest to save his career. Marvin Schwarz warns Rick that if he stays in America and continues to play small roles of a bad guy his career is doomed. Rick ignores this advice and takes the part of a villain in a TV pilot.
Up in Beverly Hills Actress Sharon Tate (The Princess) and her husband, director Roman Polanski (here taking the role of The Princesses Father/Protector), have moved into the big gated house up the hill and next door to Rick. Realising this, seeing them drive through the gates, Rick dreams of befriending them and his acting career being saved if he could only star in a Polanski movie.
The next day The VillainCharles Manson calls by the Polanski residence to ask about someone who used to live there. He is given information about who lives there now, the whereabouts of people on the grounds and directions to take a back path to check the guest house.
On set Rick meets Trudi Fraser The Donor, an eight-year-old actor. In their conversation, she reminds Rick where he used to be and what it means to be an actor truly dedicated to the craft. Rick, after messing up his lines once, goes on to impress young Fraser in his performance with her where she declares; “That was the best acting I’ve ever seen in my whole life.”(Once Upon a Time in Hollywood, 2019)
After this Rick decides to act upon Mavin Schwarz’s advice and goes to Italy to make westerns, taking Cliff with him.
Rick returns after six successful months in Italy with more money in the bank and a new wife. He thanks Cliff for all his help but informs him he won’t need his service any longer. They decide to commemorate their time together that evening by going out to a restaurant and then back to Rick’s for drinks. Meanwhile Sharon Tate, now heavily pregnant, also goes out to a restaurant with her friends. At the end of the evening, everyone returns to their respective houses.
A car with a loud engine carrying four people sent by the villain to kill everyone in the Polanski house pulls up directly outside Rick’s at the bottom of the Polanski drive. Hearing this, Rick heads outside and shouts at them to go away as this is a private road and they have no business being there. They drive back down the hill and park at the bottom of the road starting back up on foot, during the walk one of the group gets scared and runs away.
By the time they get back outside of Rick’s house they are so angry at the way he spoke to them earlier they decide to kill him first and then call on the Polanski house. By this time Rick is floating on a seat in the pool wearing headphones, his wife is asleep in the bedroom and Cliff is inside feeding his dog. When the killers enter the house, they are met by The False Hero Cliff who, with the help of his dog, fights them off; killing two and seriously injuring one. Cliff is knocked unconscious during the attack. The last remaining killer crashes through a window outside to where Rick is oblivious to everything that’s happened inside. At this, he jumps up grabbing a flamethrower from the tool shed and kills the last attacker.
The police arrive and an ambulance to take Cliff to the hospital. Rick thanks Cliff for being such a good friend and he simply replies “I try” before being driven away.
It’s at this point Tate’s good friend talks to Rick through the gates and asks if he’s ok. Then Tate herself talks to him on the intercom and invites him to her house for a drink. Rick is allowed through the gates (of the castle) and greeted at the top of the drive by Sharon Tate and her friends who recognise him as a Hero.
They all live happily ever after.
The End.
Thus, the audience can fill in the rest. It can be assumed that Rick’s dreams of being in a Polanski movie will come true. Cliff will be able to continue his career off the back of Rick’s success and Sharon Tate gets to continue living which is what the entire story was really all about. Of course, the audience knows this but none of the characters in that fictional world will ever know what was really at stake.
(There are other suggestions within the film that make it fairytale-like, to see the list refer to Appendix B).
A Hard Reality
The 1960s in the United States was a time of great upheaval and civil unrest.
Since the end of the Second World War, Cold War paranoia had been laced into the minds of the American public and now manifested in a quiet distrust between neighbours, friends and families. On top of this, the Vietnam War had eroded what little trust the people still held for the government.
The Manson murders, as they have come to be called, were just another incident in a long line of many at that time. Referring to her house on Franklin Avenue, some twenty minutes drive from the Polanki residence, Author Joan Didion writes in her book of essays The White Album(1979);
‘…in a part of Hollywood that was now described by one of my acquaintances as a “senseless-killing neighbourhood.’(Didion, 2017 p.15) On the murders themselves she writes: ‘On August 9, 1969, I was sitting in the shallow end of my sister-in-law’s swimming pool in Beverly Hills when she received a telephone call from a friend who had just heard about the murders at Sharon Tate Polanski’s house on Cielo Drive. …. I remember all the day’s misinformation very clearly, and I also remember this, and I wish I did not: I remember that no one was surprised.’(Didion, 2017 p. 42)
That is not to say that the killings were not significant, Didion continues:
‘Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969.’ (Didion, 2017 p. 47)
Real People
Everyone in the film is based on a real person that existed in history apart from the hero & his helper Rick Dalton and Cliff Booth.
The character ‘Pussycat’ is a composite of two real-life girls Ruth Ann Moorehouse and Kathryn Lutesinger “Kitty” who were members of the Manson family. In the film, Pussycat plays a pixie-like character that lures Cliff to Spahn Ranch.
All the historically real people featured in the film share the commonality that there is no real psychological depth to their characters. Even in the scene where an (apparently) previously rejected Steve McQueen laments on his unrequited love for Sharon Tate. The story he tells of Sharon’s relationship history, for the benefit of the audience, humanises & mortalises Tate at the same time as placing her as an untouchable princess.
If someone watching the film did not know Sharon Tate’s fate, the way she is placed in every scene, only a glimpse of her and always just out of reach; gives a feeling that she is a person who is protected and should remain so.
When talking about portraying Sharon Tate in the film Tarantino states;
‘I didn’t want Sharon to be a character, I wanted her to be the real person. She represents normality. We’re just watching her live her life because that is what was robbed from her. She’s a person consigned to history, for the most part, defined completely and utterly by her tragic death. She was more than that, she was a lovely person and they [the audience] get a sense of her spirit and her life. And you get to see the real Sharon juxtaposed into it and now i think people will think about her differently. Saving her from her tombstone, the movie has done that to a small, but i think, significant degree.’(Directors Guild of America, 2019)
right: Margot Robbie 2019.
‘Phillip Pullman, notable for His Dark Materials trilogy is not alone in believing that fairy tales bear no psychological heft and therefore call for no psychological discussion. “There is no psychology in a fairy tale,” he avers: “The characters have little inner life; their motives are clear and obvious.” And he goes on: “One might almost say that the characters in a fairy tale are not actually conscious.”… Of course, this is superficially right. We are not privy to the inner worlds of Hans, Cinderella, or Little Conrad in the story of The Goose Girl. Indeed most fairy tale characters go unnamed; they perform no Shakespearean soliloquies; they do not ruminate aloud. Rather, they reveal their thoughts in action.’ (Pullman, Grimm and Grimm, 2013 cited in Spitz, 2015)
Fictional Characters
When considering the two characters that do not exist historically this leads to the question: What is real about the actors who play Rick & Cliff and how does this integrate into the plot?
Leonardo DiCaprio, playing Rick Dalton the reluctant hero with a delicate disposition, is a spoof of himself and all Hollywood actors. Although the audience recognises him as a leading man, smart and often overconfident e.g. The Wolf of Wall Street (2013), Catch Me If You Can (2002). Here he is seen stuttering, prone to tears at any given moment, completely reliant on Cliff as his helper and, by the looks of it, quite lonely in his personal life. He is also known to play a virtuous character willing to die for love e.g. Romeo and Juliet (1996), Titanic (1997). And although Rick Dalton is insecure and excessively preoccupied with himself, these past roles inform the audience that although Rick Dalton may not believe it, Leonardo Di “Fucking” Caprio is more than capable. On Richard Dyers star theory Graeme Turner writes:
‘The star in a film has a signifying function which may be separate or different from the written character within the film script….As we track the audience’s relationship to a film through the star, we not only track a set of identifications with a star, but a set of meanings already encoded into that star’s representation on screen.’ (Dyer, 1982 cited in Turner, 1999, pp.120-121)
Brad Pitt, playing Cliff Booth, is commonly cast as lovable rogue e.g. Thelma & Louise(1991), A River Runs through it(1992), Fight Club(1999), Snatch(2000). In consideration of this, he is well cast in a supporting role, managing the fragile ego of Rick Dalton. As Rick’s stuntman he is also, literally, a false hero; It is his job to pretend to be Rick doing heroic things. When it comes to the final showdown on Cielo Drive, true to character Cliff does the majority of the hard and dirty work with Rick coming in at the end to finish the job in true hero flamethrower-toting style.
The combination of these two actors playing a spoof of themselves is how the story can take an alternate path, without the comedy element this would not be possible.
Through The Looking Glass – Reality meets Fiction
The film plays with our knowledge of history and blends it with fantasy at the very beginning in the conversation between Marvin Schwarz (Pacino) and Rick Dalton (DiCaprio). Schwarz talks to Rick about the future of his career. He points out,
“Oh, that’s an old trick pulled by the networks…. Now, in another couple of years, playing punching bag to every swinging dick new to the network, that’s gonna have a psychological effect on how the audience perceives you. – Down goes you. Down goes your career as a leading man. Or do you go to Rome and star in Westerns and win fucking fights?” (Once Upon a Time in Hollywood, 2019)
In this scene, the audience’s perception is played with on several levels. Within the fairy-tale narrative Pacino’s character Marvin “Schwarz, not Schwartz.” as he point’s out (Marvin Schwartz was a real American film producer and publicist) defines himself as a fictional character so close to a real person that he sits on a line between the two realities. Here he plays the role of The Dispatcher sending Rick out on his quest, in this case, to save his career. In the fictional meets historical narrative, he is dropping him into the story to save Sharon Tate.
“We know about Sharon’s murder. That’s going to happen whether I show it or not. Even if I stop in February, even if i ended the movie August 7th, that’s going to happen. And most of the audience members are going to know that. And so that can act as a dramatic motor because you know this horrible shoe will drop. And every scene in the movie is taking you closer to that.” Quentin Tarantino (Directors Guild of America, 2019)
Like Titanic, the audience knows the inevitable end of this story. Sharon Tate and her friends are going to die… Unless that is, they don’t. This is The Tarantinoverse after all and not real life. He can save her. Can’t he? But will he? This anticipation and uncertainty accompanied by a degree of apprehension drives the viewer forward.
In the scene at Spahn ranch, this is intensified.
In the incredibly long scene, that could be a horror short all on its own, the film hits a fever pitch. Due to the way it is shot the viewer gets the sense, whether they are aware of history or not, that this is a bad place for our hero’s helper to be. The feeling of suspense finally subsides when Cliff gets out alive and drives away, but the relief is only brief as now the anxiety for Sharon Tate’s life is even more heightened than before.
Story as a Savior
In his book Into the Woods, John Yorke describes his thoughts for why we tell stories as follows:
“For all its flaws existentialism pinpointed an essential truth: in a godless universe, the abject horror of meaningless existence is too much for any individual to bear. The idea that we are here and then we die, that all circumstances are random and all achievements are finally futile, is too overwhelming to contemplate. Staring into the abyss, we find we are incapable of not ordering the world. We simply cannot conceive of the random or arbitrary; in order to stay sane we must impose some kind of pattern. The Bible’s role as the cornerstone of westwern culture only enforces this, its sheer ubiquity and influence underlining the fact that God is a story we tell to assuage the terror within.”(Yorke, 2014)
This expectation for how the story should be told becomes a cultural more born of the culture and reaffirmed by the individual. If the story were to end as it did on August 8th 1969 with the death of Sharon Tate, Jay Sebring, Abigail Folger, Wojciech Frykowski and Steven Parent, the film would be seen as made in bad taste and unsuccessful as a narrative in public perception. Despite the fact that many of the people who went to see the film, in all likelihood, had an underlying morbid fascination to see a depiction of what happened on that fateful night; as it plays out those same people will find they are relieved when it doesn’t go the way they expected. The audience still gets their fill of Tarantinoesque violence and an idea of how brutal the actual event would have been. But due to the background of the fictional characters, when it does finally happen it is in the form of slapstick comedy.
THE KOBAL COLLECTION
“The film is notable for how explicitly it engages with death-anxiety. While there’s still a large helping of trademark violence, capital-G gore doesn’t arrive until the very end of the film and even then it’s counterbalanced by a fairytale gloss.” (Smyth, 2019)
This gives the observer an opportunity to envision how things could be changed for them personally if a correction in history were possible.
Conclusion
One could argue that almost all western film narrative fits into some form of Vladimir Propp’s structure or The Hero’s Journey, popularized by Joseph Campbell in his book The Hero with a Thousand Faces (1949). As shown Once Upon A Time In Hollywood does this as numerous films have before. But there is a child-like quality to it, that consciously or subconsciously activates an emotional response in the viewer. A want and desire manifests that the hero must win, the villain/s must die, the princess must be rescued and there must be a happy ending.
Contextually the film could be seen as an epitaph for Hollywood as it was at what became the end of an era. Tarantino reflects upon this time fondly as an age of innocence for him personally but also for the movie-making town itself. It is a vision of how it was, encapsulated in the director’s memory. It could also be viewed in its entirety as a spoof, a send-up of 60’s Hollywood following an impressionable actor who exemplifies those found in the pages of Hollywood Babylon (Anger, 1986).
Considering the wider implications, by dropping fictional characters into the story Tarantino has re-written the history of the time. The subliminal effect of the fairytale structure alongside the horrific truth of historical reality: builds a desperate need in the mind of the audience for the character of the princess, who represents the child within us all, to be saved.
Playing into this Tarantino gives the moviegoers and himself what they so desperately want, the remembrance of child-like naivety and a bitter-sweet imagining for how things could have been were we never forced to grow up.
Appendix A
- Joseph Campbell (1904 – 1987). Was an American professor of literature. He is most famous for his book The Hero With a Thousand Faces (1949).
In his writings he explores the common themes and story elements that recur in mythologies through many ancient cultures e.g. Ancient Egyptian, Roman and Greek; Native American, Chinese, Hindu, Buddist and Russian Mythologies, folk-tales and Legends. All cultures tell their stories in similar ways, using the same essential mythological template: the hero’s journey.
Appendix B
- Rick and Cliff stop at a junction to see six girls walking in a line singing on their way home carrying food they’ve found in a dumpster. This image, coupled with the girl’s singing, has a Seven Dwarves quality to it.
- Sharon Tate and Roman Polanski’s house being behind a large gate, on top of a hill, although this is accurate and usual to the area, lends it a castle-like feel. Also anytime scenes from within the house are shown it is preceded by a camera shot that floats over the walls.
- Trudi Fraser reads a biography of Walt Disney and calls the man “a once-in-every-50 or 100-years kind of genius.” By merely mentioning Disney’s name within the dialogue could be taken as a subconscious reminder that “The dream that you wish will come true.” (Cinderella, 1950)
- The scene with Trudi Fraser and Rick Dalton is reminiscent of Advice From a Caterpillar in Alice’s Adventures in Wonderland. Fraser being the Caterpillar and Rick as Alice.
- In the last scene where Rick is finally invited through the gates and up to the house via a tunnel of trees, Maurice Jarre’s “Miss Lily Langtry” from The Life and Times of Judge Roy Bean plays over the top and into the credits giving a fairytale feel to the end.
References:
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Photo and Picture references:
- Sony Pictures (2019). Screenshot from Once Upon a Time in Hollywood. Once Upon a Time. [image]
- Carroll, L. (1862). ‘Alice’s Adventures Under Ground’ Advice From a Caterpillar p.49.. [image] Available at: https://www.bl.uk/collection-items/alices-adventures-under-ground-the-original-manuscript-version-of-alices-adventures-in-wonderland [Accessed 6 Jan. 2020].
- Quentin Tarantino fan club (2019). Fake advertisement for Red Apple Cigarettes. [image] Available at: https://www.quentintarantinofanclub.com [Accessed 7 Jan. 2020].
- imdb (2020). Pussycat Theatre. [image] Available at: https://www.imdb.com/title/tt7131622/mediaviewer/rm1979991040 [Accessed 12 Jan. 2020].
- variety (2020). El Coyote Mexican restaurant Production designer Barbara Ling. [image] Available at: https://variety.com/2019/artisans/production/once-upon-a-time-in-hollywood-quentin-tarantino-1203263909/ [Accessed 12 Jan. 2020].
- imdb (2020). Cinerama Production designer Barbara Ling. [image] Available at: https://www.imdb.com/title/tt7131622/mediaviewer/rm3239854080 [Accessed 12 Jan. 2020].
- Product Placement Blog (2020). Taco Bell Production designer Barbara Ling. [image] Available at: https://productplacementblog.com/movies/taco-bell-restaurant-in-once-upon-a-time-in-hollywood-2019/ [Accessed 12 Jan. 2020].
- Balsamo, E. (2020). The Lonely World of Vladimir Propp. [image] Available at: http://hypocritereader.com/15/vladimir-propp [Accessed 20 Nov. 2019].
- Sony Pictures (2019). Leonardo Di Caprio wearing a giant lion pinky ring.. [image] Available at: https://theadventurine.com/culture/movies-tv/the-jewelry-in-once-upon-a-timein-hollywood/[Accessed 1 Feb. 2020].
- Sony Pictures (2019). Screenshot from Once Upon a Time in Hollywood. Margot Robbie as SharonTate. [image]
- Sony Pictures (2019). Screenshot from Once Upon a Time in Hollywood.Trudi Fraser & Rick Dalton. [image]
- Sony Pictures (2019). Screenshot from Once Upon a Time in Hollywood. Flamethrower. [image]
- The Quentin Tarantino Archives (2019). Trudi Fraser reads Walt Disney. [image] Available at: https://wiki.tarantino.info/index.php/File:Trudi1.jpeg [Accessed 29 Jan. 2020].
- New York Daily News/Getty Images (1969). The front page of New York Daily News on August 10, 1969.. [image] Available at: https://www.goodhousekeeping.com/life/entertainment/a28543822/sharon-tate-manson-murders-true-story/ [Accessed 2 Feb. 2020].
- Sony Pictures (2019). Screenshot from Once Upon a Time in Hollywood. Pussycat. [image]
- Sony Pictures (2019). Screenshot from Once Upon a Time in Hollywood. Steve Mcqueen. [image]
- Sony Pictures (2019). Screenshot from Once Upon a Time in Hollywood. Sharon Tate in doorway. [image]
- Sony Pictures (2019). Screenshot from Once Upon a Time in Hollywood. Rick Dalton & Cliff Booth on set of Bounty Law. [image]
- Sony Pictures (2019). Screenshot from Once Upon a Time in Hollywood. Rick Dalton & Cliff Booth watching The F.B.I. [image]
- Sony Pictures (2019). Margot Robbie wearing a Snakeskin coat. [image] Available at: https://theadventurine.com/culture/movies-tv/the-jewelry-in-once-upon-a-timein-hollywood/[Accessed 2 Feb. 2020].
- Sony Pictures (2019). Screenshot from Once Upon a Time in Hollywood. Once Upon a Time… in Hollywood end credits. [image]
Filmography:
A River Runs Through It. (1992). [film] Directed by R. Redford. United States: Columbia Pictures.
Catch Me If You Can. (2002). [film] Directed by S. Spielberg. Hollywood: DreamWorks Pictures.
Fight Club. (1999). [film] Directed by D. Fincher. Los Angeles: Fox 2000 Pictures, Regency Enterprises, Linson Films.
Once Upon a Time in Hollywood. (2019). [film] Directed by Q. Tarantino. Hollywood: Columbia Pictures, Bona Film Group, Heyday Films, Visiona Romantica, Sony Pictures Releasing.
Romeo + Juliet. (1996). [film] Directed by B. Luhrmann. Mexico, United States: Bazmark Productions 20th Century Fox.
Snatch. (2020). [film] Directed by G. Ritchie. London: Columbia Pictures.
Thelma & Louise. (1991). [film] Directed by R. Scott. United States: Pathé.
The Wolf of Wall Street. (2013). [film] Directed by M. Scorsese. United States: Paramount Pictures.
Titanic. (1997). [film] Directed by J. Cameron. United Kingdom, Mexico, Nova Scotia: Paramount Pictures, 20th Century Fox ,Lightstorm Entertainment.
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