Abstract
The films of writer and director, Harmony Korine (Gummo (1997) and Julien Donkey-Boy (1999)), are considered in terms of the cultural positioning of American ‘independent film making’. The article is critical of overemphasized associations with the work of Larry Clark and offers an in-depth account of Korine's Eurocentric and highly stylized response to avant-garde film-making processes. The article develops a critical account of Korine's various techniques identified as a new form of realism that challenges the traditional notions of political and cultural identities inherent to considerations of American ‘place’. Artaudian surrealism, still-life painting and Dogme 95 inform the treatment of Korine's endeavour to unearth hidden and imaginary landscapes resistant to generalized themes of location and orientation in American film-making.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
