Includes bibliographical references (leaves 162-169). / This dissertation examines the work of Harmony Korine with a particular focus on his use of realism as a disruptive critical tool. My study combines a theoretical and an analytical project. My aim is to defend Korine's works against charges of naive realism by revealing the limits of a structuralist approach to Korine's realism and arguing, instead, for the adoption of the phenomenologically grounded, realist criticism of Andre Bazin. I use Bazin' s observations about the referential or indexical relationship between the camera and the physical world and his definition of 'phenomenological realism' to argue for a privileged and fruitful relationship between Korine's realism and the physical or affective dimensions of the cinematic image. I supplement this discussion with a critical application of theories of affect forwarded by such theorists as Vivian Sobchack and Laura U. Marks, as well as theories of the grotesque. In addition, my thesis extends the links that Bazin draws between the restraint defining phenomenological realism and a productive ambiguity to argue that, rather than presenting an unsophisticated realist approach, Korine's realism operates as the primary critical tool in a confrontation with dominant sign systems and, ultimately, with the limitations of both verbal and filmic language.
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:uct/oai:localhost:11427/8123 |
| Date | January 2007 |
| Creators | Smit, Alexia Jayne |
| Contributors | Marx, Lesley |
| Publisher | University of Cape Town, Faculty of Humanities, Centre for Film and Media Studies |
| Source Sets | South African National ETD Portal |
| Language | English |
| Detected Language | English |
| Type | Master Thesis, Masters, MA |
| Format | application/pdf |
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