Artist Murat Palta has created a series of illustrations depicting “Classic Movies in Miniature Style,” including two posters based on Tarantino classics — Pulp Fiction and Kill Bill: Vol. 1 (published above). Palta’s works are part of an ongoing project that began a few years ago, when he was preparing his graduate thesis. Here’s how the Istanbul-based artist explained its genesis:
It all started 2 years ago with an experiment to blend traditional ‘oriental’ (Ottoman) motifs and contemporary ‘western’ cinema. After a positive response to “Ottoman Star Wars”, I decided to take the theme further, and developed more film posters using the same technique.
Thus far, he has created Ottoman-style posters for eleven films, including Star Wars, The Shining, and A Clockwork Orange. Palta detailed his selection process in an e-mail to _subscript, telling us he was looking for cult films that are rooted in a distinct Western culture, yet malleable enough to translate into Turkish motifs. Based on these criteria, he says, “Kill Bill and Pulp Fiction were musts,” albeit for slightly different reasons.
Palta, 22, says he chose Pulp Fiction primarily because of its strong meta-commentary on Western culture, evidenced by frequent references to hamburgers, milkshakes, and comparisons between Europe and the United States. Kill Bill, on the other hand, held a slightly more personal cachet for the artist, who grew up as a fan of Bruce Lee films. “The first time I watched Kill Bill I was about thirteen,” Palta says. “I liked that movie so much that I used to listen to it as background noise while I worked. So it was the first movie that came to my mind.”
Kill Bill‘s structure presented unique artistic opportunities, as well, allowing Palta to combine Japanese, Turkish, and Western aesthetics. “The cast is crowded, there’s a strict hierarchy governing the characters, and it’s multi-cultural,” Palta says. This sense of hierarchy is most visibly represented by The Bride, prominently placed at the center of Palta’s poster, and notably larger than the Crazy 88s surrounding her.
Volume 1 was of particular interest to Palta because its titular character remains hidden throughout the film. “Bill is a secret person,” he explains. “This has a strong correlation with miniature art. In religious miniatures, some holy characters’ faces are forbidden to be drawn. Instead, they are illustrated with a fabric that covers the face. This aspect made Kill Bill particularly adaptable to the miniature form.”
Palta’s Pulp Fiction rendering is published below. For the rest of his collection, click here.