ABSTRACT
The two-part film is a revenge story in which the Bride kills former comrades as well as the father of her child, Bill. Kill Bill (Vol. I) is analyzed as a paradigm of hyper-violence, distinguished by its cinematic manipulation of the sensuous surface of human destruction in visually arresting ways: for example, by enlarging upon the spatter of blood, enriching its color, and focusing on its pattern. The hyper-violent finale of the film’s periodic violence pits the Bride against an army of male yakuza, after which she duels their female leader, O-Ren.
