Can Kill Bill be a feminist film? The answer is very complex because it is a complex story plagued with women portrayed as victims and executioners of violence and revenge. The Bride is ultimately a symbol of white female narrative revenge (Tapia, 2006, p. 33). “Kill Bill’s narrative coheres only, and precisely, because its leaps of time, space, race, and gender reflects the privilege of white male subject formation to incorporate and reject objects according to what consolidates this information (Tapia, 2006, p. 33)”. What she’s saying is Tarantino is the director and narrator of this film that ultimately uplifts the Bride as a hegemonic model.
The article states that the image Tarantino uses to introduce the character in the movie is his fixation on a “rape fantasy”. ‘Once I got this idea in my mind, I couldn’t get it out. It would be a lot easier if i didn’t go down that road, but then that would just be cowardice to me…my feeling is, if Uma Thurman was in a coma for four years, and she’s a Jane Doe, nobody’s visiting her, she’s just a plant – I could just imagine guys selling her. And once I came up with that thought, I couldn’t let it go (Ansen, 2003) (Tapia, 2006, p. 33-34)”. Often when a female is lead protagonist she seeks revenge for some type of sexual exploitation.
The article goes on to say that the film shows a lot of killing; particularly killing of people of color on the way to kill Bill. In volume 1 The Bride kills O-Ren Ishii, Go-Go, Vernita Green, and a host of Asian characters.
Berger, A. A. (2012). Fourth edition media analysis techniques. Sage.
Tapia, R. C. (2006). Volumes of Transnational Vengeance: Fixing Race and Feminism on the Way to Kill Bill. Visual Arts Research, 32(2,issue63), 32-37.