Tarantino is certainly not the first nor the last director to pair brutal images with frothy music for ironic effect: Stanley Kubrick pioneered the practice in A Clockwork Orange (1971), where “Singin’ in the Rain” accompanied a graphic murder. In fact, it has become so commonplace to accompany violence with lighthearted music that the New York Times titled its 1994 commentary on the practice “It’s Got a Nice Beat, You Can Torture to It.” The pairing of brutality with bubbly music in Reservoir Dogs remains amazingly effective, nonetheless.

The word “pair” in the passage is closest in meaning to?

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