12. WHAT WAS THE NEO-
UNDERGROUND AND WHAT WASN”
A FIRST RECONSIDERATION OF
HARMONY KORINE
Benjamin Halligan
A consolidation of the predominant characteristics of recent Hollywood
making occurred in the success of two late-1990s’ box-office hits: Ti
(1997), the zenith of the film-as-experience strain of ‘High Concept’
American cinema, and American Beauty (1999), acclaimed for the origins
Of its approach to its material. The films came across as experiences for
taking, labelled as such for the multiplexes, ‘must-see’ ‘water cooler" tal
points. In this respect, the latter was ‘art as entertainment’, the fe
‘entertainment as entertainment’, a difference of degree between the
but the denominator is common and they both trailed Academy Awards
their wake. 4
Walter Benjamin once observed a phenomenon that seems, from this cl
distance at least, especially applicable to the ‘art as entertainment’ sensibilit
The application is necessary because American Beauty seems to exemplif
and perhaps anticipates, a contemporary trend in North American
making:
=. we are confronted with the fact . . . that the bourgeois appara
of production and publication is capable of assimilating, indeed
Propagating, an astonishing amount of revolutionary themes wit
First RECONSIDERATION OF HARMONY KORINE
ever seriously putting into question its own continued existence or
that of the class which owns it. In any case this remains true so long as
it is supplied by hacks, albeit revolutionary hacks ... 1 further
maintain that an appreciable part of so-called left-wing literature
had no other social function than that of continually extracting
new effects or sensations from this situation for the public's entertain-
ment. (Benjamin 1973: 94-5)
“The assimilating nature of American Beauty occurs in the successful transla-
tion of the style and preoccupations of an ‘underground’ into box-office
material. The originality of American Beauty was nothing so much as a
repackaging of aspects of 1990s’ ‘independent’ American film-making (of the
commercial fringe), as exemplified in, say, the films of David Lynch and Abel
Ferrara. In this case, the bourgeois apparatus of production was the burgeon-
ing Disney-to-be, DreamWorks SKG. The assimilation was in the nature of
the ‘Bodysnatchers’: the film became an acceptable version of the same thing.
In terms of the matter of degree (art as entertainment and entertainment as
entertainment), the ‘art’ sensibility manifested itself in American Beauty
through incidentals and inessentials, elevated to the level of the all important.
This is true of both individual moments ~ the bag blowing in the wind, for
example, itself extracted from Antonioni’s Il Deserto Rosso (Red Desert)
(1964) — and underlies the nature of the narrative as a whole (the generically
dysfunctional family unit within the milieu of 1950s-like American suburbia, @
Ia Lynch). The experiential aspects ofthe narrative, that function to immerse the
viewer in the pervasive superficiality of the generic suburb, give way toa sense of
a critical distance from the filma distance filled with irony, reflexive pastiche,
“knowingness’. This creates an environment in which the expected can itself
expect to be usurped, and the audience warned notto fee! alienated should this
‘occur. Thus the film offersa sense of ‘difference’ within the familiar. Thiscritical
distance, inrelation toartas entertainment, recalls Brecht’sreading offilmin the
1930s: the smoke-screen of ‘art’ obscures that which, in this case, posits a very
tight spectrum of entirely passive expressions of ‘rebellion’.
The nature of the assimilation, which received its final blessing in the
success of the film, indicates the weaknesses and uncertainties of Hollywood
film-making in the 1990s (an inability to understand or control audiences, or
the ‘digital revolution’). This translated, seemingly, into a knee-jerk plunder-
ing of left-of-field film-making in order to appeal to the more wayward
audiences that the Hollywood industry felt were endangered. Such a move is a
shoring up of market futures. This sense of endangerment had coloured
Hollywood strategies since the near breakdown of the 1992 GATT trade talks
with the European Union and the shift, in the late 1990s, to the majority of
box-office returns for Hollywood films being reaped from outside NorthNew PUNK CINEMA,
Finst RECONSIDERATION OF HARMONY KORINE
‘America. To be crude about the perceived marketing strategy: since the non-
Americans were noted sometimes to prefer art-as-entertainment over enter-
tainment-as-entertainment ~ desired the ‘difference’ ~ then that element must
also be addressed, repackaged and assimilated, and so find its position within
the products of Hollywood. It becomes a matter of articulating a foreign
language with a familiar ‘filmic language’, of placing the foreign language
within a ‘vernacular’ system so that the foreignness becomes ultimately litle
‘more than a nuance, a quirk.
When even ‘difference’ becomes a commodity, then a certain equilibrium
has been achieved. As in the Czech film industry under Soviet reorganisation
in the early 1970s, all dissidence is annihilated: those responsible for it are
either silenced or exiled, and the films and their nature either banned,
appropriated or regurgitated. The North American film of the late 1990s
fell into two camps: the monumental block-buster, of which Titanic was the
most visible, the heart of a nexus of global products, or the film of ‘dfference”
that then seemed to have been called into existence in order to mop up all
audiences who did not buy tickets for the doomed ocean liner. All films caught
in between are pushed towards one of the two poles, so that there can be no ‘in
between’, merely binary oppositionism: a film was the same (entertainment-
as-entertainment) or not the same (art-as-entertainment), and not to be the
same was to come to be still the same; not being the same had been co-opted.
‘And this co-opting occurs in the way in which those ‘not the same’ are
products that aspire to must-have status: bought up by subsidiaries of major
studios, forcefully pushed at festivals. So it was noted at the time that the
suceess of Titanic heralded bad news for all smaller films ~ those that were
formally ‘in between’. This constitutes the eradication of ‘real’ difference
through the imposition of a vernacular system; a reorganisation by stealth
(artistically, the Czechs had it relatively easy). In Miramax’s famed post-
production re-edits and rewrites, this imposition can be seen in action.
‘The wider impulse for (and, alas, a desire for) assimilation can also be seen
in the general trends of film-making of the formerly ‘underground’ or semi-
underground American auteurs in the 1990s. At worst, they recast themselves
as ‘hacks, albeit revolutionary hacks’ (particularly in the light of the challen~
ging and newly re-emergent Russian, European and New Asian film scenes of
the 1990s). But this shift to the mainstream by the Coens, Soderbergh,
Jarmusch, Van Sant, Larry Clark, Lynch and others was tempered by one
‘slight return’: Harmony Korine, in his films Gummo and julien donkey-boy,
went defiantly in the other direction. Guonmmo met with widespread criticism
and condemnation upon its release; many felt Korine exploited the dispos-
sessed that he filmed ~ offering a questionably voyeuristic experience mas
‘querading as an exposé. This sentiment was shared by the right and the lefts
David Walsh termed it ‘a libel against mankind’ (Walsh 1997b).
In this context of a looming, bloated Hollywood omniculture, ‘low concept’
would be an applicable term for Korine. Gummo itself inverts the norm of the
nexus of global products: rather than the television spin-off from the film, it
‘comes across as a film spin-off from television (specifically, The Jerry Springer
‘Show {1991-current]; indeed, one of the principal characters of Gummo was
taken from the paint-sniffing segment of a drug prevention episode of The
Sally Jessy Raphael Show [1985-2002}). The film has a self-contained still-
born marketing campaign: a promise of pandering to the racist stereotype of
the white-trash freak show, a Heavy Metal sound-track, outrage upon out-
rage piled up. Barely have the words New Line and Time-Warner first
appeared on the screen than a torrent of juvenile obscenities fades in on
the sound-track. On the face of it, the film seems tailor-made for the bored
browser in the video shop: a spectacle that will offend; packaged outrage as
entertainment.
This difference from the shift to the mainstream, in Gummo, can be
understood in terms of the apparent aspirations. While the semi-underground
auteurs of the 1990s looked to models of (troubled liberal) film-making, such
as neo-noir and the ‘issue’ film, Korine looked to one of the idiosyncratic
auteurs of the New German Cinema: Werner Herzog. Korine claimed to have
fallen under the influence of Herzog as a Californian teenager of the 1980s
and that Herzog, whose work represented an absolute foreignness to him —
specifically in Auch Zwerge Haben Klein Angefangen (Even Dwarfs Started
‘Small {1970)), a kind of cinematic ‘abduction by UFO’ experience, wrecked
any evolving sense of what a film should or should not be. Herzog’s influence
informed Gummo, and Herzog himself was present in julien donkey-boy.
‘There was no Scorsese, Coppola or Penn lineage for Korine. Rather, he looked
to the monumental statements of Herzog and the New German Cinema:
unwieldy metaphors, ambiguous relevance, insane propositions. Korine’s
model was the lack of a model particular to Herzog’s unique vision and
methodology. Herzog’s 1970s’ work had been characterised by allegories that
refused to reveal the actualité of which they spoke: the vague sense of
humanity against nature, or God, as parables of civilisation and capitalism
(Fitzcarraldo (1982}), of revolution as a pointless and doomed activity (Even
Dwarfs Started Small), of characters newly adrift in an alien landscape (the
Bruno S films: Jeder Fitr Sich Und Gott Gegen Alle (Every Man for Himself
and God Against All} (1974) and Stroszek (1977). For the auteurs of the New
German Cinema, because any human truth or ‘meaning’ fell short of historical
fact, meaning itself was to be resisted in the art that invariably reflected recent
‘West German history. Itis Herzog’s ‘unstuck’ metaphor ~ the grand gesture as
a grand gesture, insanity as the only proof of life — that informs Korine’s
methodology. Herzog returned the compliment too, in a suitably idiosyncratic
manner. In discussing Gummo with Korine, he commented:New PUNK CINewa
Finst RECONSIDERATION OF HARMONY KORINE
What I like about Gummo are the details that one might not notice at
first. There’s the scene where the kid in the bathtub drops his chocolate
bar into the dirty water and just behind him there’s a piece of fried bacon
stuck to the wall with Scotch tape. This is the entertainment of the
future. (Herzog 1997)
‘To which Korine replied, reveling in his difference (now authenticated by the
master of difference): ‘It’s the greatest entertainment. Seriously, all I want to
see is pieces of fried bacon taped on walls, because most films just don't do
that.’ (Herzog 1997) The authentification of ‘difference’ for julien donkey-boy
‘came via a Dogma 95 certificate: Korine as a member of the brotherhood of
Danish film punks. And for Above the Below (2003), from the discomfort of
the onlookers at a man in a perspex box, suspended above them, starving.
Structurally and aesthetically, Korine’s films exist beyond any familiar ‘art-
house’ or underground category. They talk in a foreign language in these
respects. In terms of the expected political critique, Korine invites and then
rejects a liberal agenda with his no-hope sketches of the wretched underbelly
of American life. On one level he articulates the neo-realist’s question in terms
‘of the type of imagery he presentts - Why and how has this come to pass?” But
the crux of his vision lionises the marginal along with the disregarded icons of
late twentieth-century culture, reinventing them into an ironic form of poetic
realism (finding meaning in the meaningless), vastly at odds with his neo-
realist elements. His frame of reference recalls the blunt ironies of Jeff Koons’s
‘instant art’ approach to the refuse of consumer culture (thats, that there is no
refuse but rather an endless cycle of a consumption of the defecation). Indeed,
Korine was first encountered in the Koons milieu, art and fashion magazines,
rather than brought out as a precocious festival cinéphile.
Korine constantly hones in on the most superficial aspects of existence ~ a
kind of anti-existentialism. He summons up the ambience of the American
mid-west Heavy Metal life-styles in Gummo: the ridiculous posturing of the
‘music overlapping the juvenile chants of the opening credits (‘Peanut-butter~
‘mother-fucker’), reflected in the style of the on-screen credits (1970s’ album-
cover Gothic). Korine bleeds the sense of authenticity from expressions of
difference in these, his self-effacing debut moments. His characters are defined
by the commercial categories of difference that are on offer —they are products
of the cultural assimilation of the supposed left-of-ield. In this instance, the
whole recalls the ‘Judas Priest suicide’ of the late 1980s ~ commodity:
fetishised nihilism authenticated by an actual desire for annihilation:
Sparks, Nevada ~ After James Vance demolished his face with a sawed-
off shotgun at a church playground, he rode his bicycle around town
shocking people with his grotesque disfigurement. Plastic surgeons had
been able to restore his ability to eat and breathe, but were not able to
restore his smooth, youthful face. James’ physical deformity stunned the
town, but not as much as the message he later delivered: Heavy metal
music drove him and his closest friend to strike a suicide pact, one that
only James survived. “I believe that alcohol and heavy metal music, such
as Judas Priest, led us or even ‘mesmerized’ us into believing that the
answer to ‘life was death,” James wrote to his best friend’s mother in
1986, quoting some of the album’s lyrics. James, depressed and addicted
to pain medications after the shooting, died last year in the psychiatric
unit of the Washoe Medical Center from drugs and complications from
his numerous surgeries. (Cooper 1989)
In the horizon of the inauthentic, actual difference is not so easily assimilated
since its authenticity becomes all the more apparent.
Korine does not speak of the locale (the vantage point of the liberal agenda)
but speaks the locale. He allows the nihilistic vision of the mid-west to
mesmerise him ~ he ‘opens himself up’ to the influences, enters into the
milieu, fashions an expression of it, not from it. He even engages in some
‘grotesque disfigurement himself. In placing the film in a submissive position to
the world around it, Korine finds a place in the freak-show parade of white
trash, This cameo has neither the flourish of the Hitchcock ‘signature’ nor the
cffect of Welles’s presence (which often reassembled the film around a sense of
the auteur as present). Korine, as ‘Boy on Couch, is utterly superfluous. He
resents himself as a drooling, drunken supergeck, trying to seduce a street-
wise gay Jewish African-American person of restricted growth, Midget. His
voice is whispery and cracked, he slurs his way through stories of debasement,
of being sexually abused as a child, and immerses himself in cheap beer. The
sequence jump-cuts into, seemingly, alternative takes, creating the impression
of an improvised scene with interchangeable anecdotes and voiding a suspen-
sion of disbelief. It is not as if Korine is presenting a fictional character that
functions in any discernible way. Itis not as if Korine is not himself noted in
the process. (Indeed, critics of the film - such as David Prothero ~ tended to
‘cast this scene as the ‘final straw’ in terms of evidence of exploitation.) Rather,
the moment communicated a sense of Korine entering into the situation of the
film, that his role is equally behind, and in front of, the camera (the final
affirmation of the loss of the liberal vantage point). Both positions are
‘engulfed by the world of the film and both are exercises in self-debasement.
This is undoubtedly the lesson of Herzog. And, in the same exploratory
‘manner, in interview, Korine noted the problems of such a methodology:
As far as production design went, it was about taking things away to
make it cleaner. At times the crew would refuse to film in those