Sean Baker, Harmony Korine, and Their Contrasting Take on American Decay

Sean Baker, Harmony Korine, and Their Contrasting Take on American Decay ...

Sean Baker''s interest in showing socio-economic subcultures on-screen is a sign of decline. However, as a filmmaker, Korine''s unrelenting desire to depict the less fortunate, the lower economic classes, and the straight-up is often mocked as a provocative curator of the vulgar. However, his appeal isn''t as widespread as candid, although his unrelenting desire for showing is evident.

Both of their films are often described as unprofessional, juxtaposing pop songs with a lower resolution, but also striking out unprofessional actors (think of Korine''s Spring Breakers as an example of the saturated paint) compared to other artists. This is why both films should be cognizant of their cultural heritage and cultural significance.

Where Tangerine made a prominent appearance on transgender characters and sex workers, a culturally relevant and important topic, Julien Donkey-Boy was seen to have done something similar in hindsight, giving a clearly honest presentation of schizophrenia when other films of the era were dramatizing it. So where do the filmmaker''s approaches and reputations differ, and how do they differ from their peers?

Korine''s 2019 comedy release is accompanied by Matthew McConaughey''s perpetually intoxicated "Moondog" (Simon Rex) returning to his Texas hometown and discovering a romantic and/or business opportunity in "Strawberry," according to Moondog. The difference is, however, that while the filmmakers have developed a moral bankruptcy and a misguided behavior, such as kicking a man and his trombone into the sea for no reason, Korine''s filmmaking suggests

The camera is often handheld and positioned near the character, despite the wide-angle of the lens. This style of filmmaking suggests a chastised involvement in the actions on-screen, bringing in certain instances as with Trash Humpers, a sense of detachment that implies Baker is neither condoning nor condemning his characters. The differences, however, are shown in the filmmaker''s appearances.

In Red Rocket, you are told right from the start that Mikey isn''t welcome, evident as a result of his previous misdemeanors, but also of avoiding him. Eventually, Mikey concludes the film with a sense of interest, revealing that his character is likely to have been unconcerned about it. This is because by his athletic ability and ability to express his self-confidence, and thus, gives him greater respect for his actions.

Korine''s spooky feel is also associated with the excess of Korine''s films, however. Whilst Baker never punches or paints his characters as faultless, he says that shock value is essential to them. However, by shoving it in the viewer''s face, he is forcing a confrontation with their past.

The humorous endings in Korine''s films do not have a bad taste than Baker''s don''t. However, Baker''s characters keep their dearest friendships, including Alexandra (Mya Taylor) returning to Sin-Dee (Kitana Kiki Rodriguez) and assisting her to obtain what could be seen as for the best, thanks to Mikey''s ending or how Halley (Brooklyn Prince) tragically kidnap and dump a misborn baby in The Florida Project.

Korine is somewhat unabated as a filmmaker. After all, he was the first outside Europe to direct a film under the Dogme 95 manifesto. His craftsmanship is more preoccupied with the images and creating an audiovisual experience; this lends to vastly differing views on the sociopolitical landscape that both filmmakers often seek to expose. It''s often more visually and viscerally exciting to take the decay to the extreme, despite the fact that Baker and Korine are painting the same strokes with very

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