The Avenging Females: A Comparative Analysis of Kill Bill Vol.1-2, Death Proof and Sympathy for Lady Vengeance

<p>This paper provides a comparative analysis of Quentin Tarantino’s <em>Kill Bill Vol.1-2</em> (2003, 2004)<em>, Death Proof</em> (2007) and Park Chan Wook’s <em>Sympathy for Lady Vengeance</em> (<em>Chinjeolhan Geumjassi</em>, 2005). The primary objectives of this study are: (1) to reveal the gender-biases inherent to the fundamental discursive structures of the foregoing films; (2) to compare and contrast the films through an analysis of the ‘gaze(s)’ and possible ‘pleasures’, which are inherent in their narratives, in relation to Laura Mulvey’s and Carol Clover’s approaches; and (3) to distinguish <em>Kill Bill Vol.1-2</em> from the foregoing two and the ‘avenging female’ <em>clichés</em> of the other horror/violence movies in the context of the replaced positionings of its protagonist and antagonist inherent in its distinct narrative style.