1. 00:44Tarantino’s three creative phases: narrative games, cinephilia, and rewriting history.

2. 05:43How Tarantino’s ‘women trilogy’ differs from today’s women’s cinema.

3. 07:21The power of fiction: rearranging time, recalling forgotten images, and rewriting history.

4. 10:19How videotapes, MTV, and games produced Pulp Fiction’s narrative play.

5. 13:02A famous director’s identity crisis and return to B movies.

6. 15:52Inglourious Basterds changes Hitler’s fate: why must cinema obey history?

7. 20:16Why Jackie Brown and Death Proof are understated and overlooked.

8. 21:49After adapting novels through genre borrowing, is Tarantino still adapting?

9. 23:29Homage is surface; emotional weight beneath revenge sustains Kill Bill.

10. 26:44How class and cultural capital divide cinematic high and low.

11. 33:32From Clement Greenberg to Susan Sontag: revaluing low art.

12. 37:53How Tarantino combines comedy and sudden violence.

1. Ah Wu: Critics call Jackie Brown, Kill Bill, and Death Proof Tarantino’s women trilogy, his strongest female perspectives.

Lao Ma: Made in the 1990s and 2000s, they precede post-2010 woke culture. By today’s standards they cross boundaries, yet sometimesI find them more sincere than many films built within today’s woke framework.No preset framework can contain them.

2. Lao Ma:Changing historical endings raises a question of the medium: why must narrative art submit to history? Fiction may invent details but is expected to preserve major events. Tarantino’s later work rejects that premise.