1. 研究目的与意义（文献综述）

Violence aesthetics in high culture art or mass media has been the subject of considerable controversy and debate for centuries. In Western art, graphic depictions of the Passion of Christ have long been portrayed, as have a wide range of depictions of warfare by later painters and graphic artists. Theater and, in modern times, cinema have often featured battles and violent crimes, while images and descriptions of violence have always been a part of literature. Margaret Bruder states that the violence aesthetics in film is the depiction of violence in a "stylistically excessive", "significant and sustained way" in which audience members are able to connect references from the "play of images and signs" to artworks, genre conventions, cultural symbols, or concepts.

Kill Bill is an American two-part martial arts film series, and the fourth film overall that was written and directed by Quentin Tarantino. Kill Bill, a highly stylized "revenge flick" in the cinematic traditions of Kung fu films, Japanese martial arts, Spaghetti Westerns and Italian horror, followed six years later, and was released as two films: Volume 1 in 2003 and Volume 2 in 2004. It stars Uma Thurman as the Bride, who swears revenge on a team of assassins and their leader Bill after they try to kill her and her unborn child. In Xavier Morales' review of Kill Bill: Volume 1, entitled "Beauty and violence", he calls the film "a groundbreaking aestheticization of violence". Morales says that the film, which he calls "easily one of the most violent movies ever made", "a breathtaking landscape in which art and violence coalesce into one unforgettable aesthetic experience". The Chinese director Kar-wai Wong first brought the conception of violence aesthetics into films, undoubtedly, his works had a huge impact on Tarantino. Despite China’s film policy argues against such kind of movies, more and more Chinese Directors are bringing violence aesthetics into audience’s sights.

2. 研究的基本内容与方案

This paper analyzes violence aesthetics in Quentin Tarantino’s movies mainly in three parts. Firstly, I’ll introduce Tarantino’s earlier works,the triplets in the 1990s in which the violence aesthetics first came into being in his movies. And then taking the movie Kill Bill as an example, in this part, the structure and arrangement of violence aesthetics in the movie will be analyzed. There will be study on how violence and beauty are combined together. Lastly, the impact on Tarantino’s later works and all filmdom will be included. Many action films use violence as a central metaphor. To be sure, a large part of the appeal of these films is the visceral spectacle of that violence. Yet, what is not often noted in studies of action films is that one of the most common genre themes presents an inner journey resulting in some sort of fundamental character transformation. In these character-driven action stories, violence plays a much more complex role than simple spectacle.

Most of what has been written in this regard suggests that there is something unique—or at least personal—in Tarantino’s allegiance to violent imagery from pop culture. However, I argue that Tarantino’s deliberate use of borrowed imagery from Asian martial arts films is far from unique. I suggest that violent imagery—especially that connected to Asian martial arts—functions as one of the primary cinematic languages for character description and plot progression in modern action films.

3. 研究计划与安排

before 26th, december: settlement of the title

before 25th, february: submission of the outline

before 25th, april: submission of the first draft

4. 参考文献（12篇以上）

[1] quentin tarantino biography (1963–). advameg, inc. retrieved august 20, 2012.

[2] "the new classics: movies". entertainment weekly. june 8, 2007. retrieved september 29, 2013

[3] "pulp fiction (1994)". british film institute. retrieved november 9, 2015.