Week Fifteen

1. Despite its use of improvisation, how is Gummo different from “execution dependent” screenplays such as Stranger than Paradise?

Korine's descriptions of the characters, choice of dialogue and action make the screenplay a cohesive and authentic piece. He expresses his knowledge about teens through the dialogue and in the screen play he had very specific images of the characters written out in words.

2. According to Murphy, what function does the “nonsense” included in the dialogue serve in the film as a whole?


Murphy says that the "nonsense" is what makes Korine's screenplay so poetic and mysterious.

3. What specific connections does Murphy make between Gummo and New American Cinema (including Beat films)? How did Korine respond to associations made between his work and underground film?

Murphy assumes influence of the improvesational aspects in Gummo to John Casavetes films. he connects the lack of plot to avant guarde films by Maya Deren (Meshes of the afternoon) and Christopher Mclaine (the End) and Jonas Mekas.
Korins stated that he is all commercial film maker and doesnt want to be associated with other cinema. he denay that underground cinema exists.


4. Besides as a filmmaker, how has Korine participated in alternative urban youth culture?

He wrote the screenplay for Larry Clark's Kids and is considered an expert in the youth culture.

5. If Gummo uses “collage techniques” instead of a traditional plot, what techniques are used on the image and soundtrack to make connections and associations across the course of the film? How are these techniques similar or different than the “narrational tactics” described by Bordwell? (Look at your Week Nine response, TWHTI, “Tightening the Plot,” starting on p. 43.)

The connections and associations that can be made from the Gummo soundtrack are loose. and becasue the film doesnt really have a plot and each scene is somwhat self contained, they allusionment in the soundtrack doesnt nessecary move the narritive forward but act as filler.