![]() ![]() It is clear that Korine is a true original, boasting an inimitable slant on his craft and a vision that he is determined to achieve at any cost. He may not have produced an enormous quantity of work, but these films- Gummo (1997) and julien donkey-boy (1999)-reveal his considerable talent and a filmic mastery that belies his age and experience in the industry. I align myself with this view and assert that, in my opinion, Harmony Korine is indeed a ‘great’ director. Equally, it could also be claimed that his detractors simply do not want to understand him, renouncing the unknown and succumbing to the age-old paradigm of rejecting the attempts of a new generation to redefine an art form because it is too taxing and challenging. ![]() In effect, a strong case could be made that Harmony Korine is vastly misunderstood. However, there is also a group of people who champion the work of Harmony Korine and consider these unfavourable views to be ignorant and desperate. Consequently, Korine is not even vaguely seen as a major power in contemporary film. Widespread derision has focused on the absence of fully developed story lines and conventional structure in his films his obscure and almost demented aesthetic sensibility and claims that he intentionally sets out to shock his audience. Even more telling is the fact that Korine has continually attracted condemnation towards his distinctive directorial style from critics and members of the film industry. Most would automatically rule out any consideration of ‘greatness’ due to his low output of films, only having completed two feature length productions to date. To a sizeable majority of film enthusiasts, the question of Harmony Korine being considered a ‘great’ filmmaker is a ludicrous notion. ![]()
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