Abstract

Quentin Tarantino’s Kill Bill realizes a primary revenge fantasy in which the murdered victim is also the triumphant revenger who seemingly rewrites the past and resurrects the dead. Avoiding revenge’s conventional tragic ending, the film moves toward romance, the genre associated with reunited families and wish-fulfilment.

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Additional Information

ISSN
1925-5683
Print ISSN
0027-1276
Pages
pp. 121-134
Launched on MUSE
2014-06-09
Open Access
No
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