Spring Breakers was released to a wave of mostly positive criticism last week, ... Alien. “I just sucked both of y’all’s dicks,” he whispers, after, elated. “I swear to God I just fell in love with y’all.”.
Their professor’s silhouette is seen in the distance, his words barely audible: …something deeper and harder to get at, which is the civil rights movement, or the black freedom struggle, or as some historians have called it, the Second Reconstruction. We see him trying to slice the topic ever more thinly, asking, “When is violence necessary? See “Gun inequality: US study charts rise of hardcore super owners,”. (In case you were wondering, Pinellas County, Florida, of which St. Petersburg is a part, swung narrowly to Trump.) To be cut off from them is an apparent relief. You think you can just fucking own us?
This discourse of conquest fuels Alien’s drug empire, and also the ritual of spring break. His reaction is to fall in love with them, or at least put in the effort to pretend to love, Imperial Stormtrooper Marksmanship Academy. This helps show us how easily the three girls slip into Alien's violent power fantasies, though he could have just learned the song to impress girls like the gang. Yet mere looking does not guarantee anything either. Alien’s well-armed militia is, well, just the arms. In the film’s final frames, shot from the perspective from the dying Alien, Brit and Candy walk off in balaclavas, upside down. In the Oregon standoff, as elsewhere in American politics, affection for guns was not only integral to the making of mischief but also to making mischief stop. In his famous letter written in 1889, Chekhov described the role of guns in theater in a dictum designed to keep viewers on the edge of their seats: a rifle once introduced awaits its telos of firing, preferably by act three.9 In 1926, Jean Epstein wrote admiringly, “There was a time when hardly a single American drama was without a scene in which a revolver was slowly pulled out of a half-open drawer. Cotty gets shot and wisely decides to cut her losses as well. Alien announces, “I got a bouquet for you all,” and fans out a stack of hundred-dollar bills. After one death and many attempts at negotiation, the standoff was finally brought to a peaceful halt by a Nevada assemblywoman, Michele Fiore, who herself had made headlines a few weeks prior for sending a Christmas card that leaned heavily on a gun-toting vision of familial affection. The production hired regular extras and real spring breakers, as well as girls who worked at the local Hooters and various strip clubs (which probably explains all the fake boobs in the shots).
That firearms have become such a reliable source of suffering further complicates the task. There's a number of lesbian make out scenes during the spring break party too. and that's to rob a fast food place for quick money. Faith then leaves to get the bus back only to be harrassed by Hunnyboo and Sugar. With Cotty gone, Alien, Brit, Jordan and Candy begin a sexual relationship and decide to take revenge on Big Arch. On the trip, the girls attend wild beach parties, engaging in drinking and reckless behaviour.
Within this group, according to a Harvard/Northeastern study, approximately three percent of gun owners account for half of the available gun stock, with members of this cohort owning seventeen guns each on average. Criminals Against Decoration: Modernism as a Heist, Claustrophobia and Intimacy in Alex Ross Perry’s, Thresholds of Work and Non-Work in Tulapop Saenjaroen’s, The 34th Cinema Ritrovato Has Full Resuscitation under COVID, Women at the 2020 Toronto International Film Festival, A Vitalising Cinema in an Agitated Age: The 58th New York Film Festival, Your Daughters Come Back to You: The 28th Pan African Film and Arts Festival, Waiting for Rain: Oppression and Resistance in Youssef Chahine’s, Stairways to Paradise: Youssef Chahine and, http://www.complex.com/music/2013/03/rapper-james-franco-dangeruss-spring-breakers-riff-raff, http://grantland.com/features/harmony-korine-riff-raff-james-franco-making-spring-breakers/, http://www.harmony-korine.com/paper/int/hk/kelley.html, https://www.theguardian.com/us-news/2016/sep/19/us-gun-ownership-survey, Cinema and the Classroom: Education in the Work of Eric Rohmer, For an excellent survey of technological developments that combined elements of photography and of firearms, see Karen R. Jones. People always tellin’ me, “you gotta change.” I’m about stackin’ change! 2. Set in a French colonial prison, Un Chant d’Amour centers on two prisoners (Lucien Senemaud, Java) and the voyeuristic guard (André Reybaz) who keeps watch over them.5 It turns on a series of turnings-on: to cope, the cooped-up prisoners create escape tunnels for their breath, poking small airholes in the wall with a reed and blowing smoke back and forth.
As Alien initially gives the girls a tour of his one-man narco-state, he declaims: This is the fuckin’ American dream, y’all. If you are an Australian resident, any donations over $2 are tax deductible. Korine’s gun fellatio is framed just like Genet’s, but unlike in Un Chant d’Amour – where the prisoner looks away from the guard, and then inward, as the camera flicks its gaze over to the guard’s face – here we remain with Alien, whose eyes are locked with the girls’.
The film follows five college-aged girls on their spring break. The standoff underscored the extent to which American intimacies and weaponry are entwined, but beyond the occasional statement that “Americans love guns” (an ahistorical shoulder-shrug of a phrase), American culture currently suffers from a poverty of language with which to address this entwinement. An interesting auditory example. In forcing us to reckon with gun love’s most and least nourishing aspects, the way it helps someone like Alien “take off” even as it facilitates a whole cycle of taking and offing, Spring Breakers offers a rejoinder to those who would simply take guns away, or call their proliferation madness: some offering is needed in their place. The optimism of Un Chant d’Amour is that the gun is ultimately no match for fantasy. Not looking, in Korine’s view, is worse. One scene shows two of the girls watching. sounds of crashing and hammering leads up to the fast food robbery which heralds going to Florida, sounds of the jail cell door leads up to the arrest which moves from typical spring break to weird spring break, and sounds of gun fire leads up to Cotty being shot. Its hold is tenuous; the main thing the professor gets out of speaking to his students is that later, when they rob the chicken shack, they steal his car as a getaway vehicle and then set it on fire. The film stars Selena Gomez, Vanessa Hudgens, Ashley Benson, Rachel Korine, James Franco and Zendaya. “That’s loaded.” “That’s better,” she purrs, and Alien’s voice takes on a sharp edge: “Don’t point that at me!” Brit grabs a gun, too, and the two begin to berate him in low tones. Letter to Lazarev-Gruzinsky, 1 November 1889. “You are my motherfuckin’ soulmates,” Alien proclaims. Today, most weapons have cameras, their own distinct ways of seeing. And he shows us how it might be equally reasonable, under the same circumstances, to fall hard for a couple of spring breakers while giving a gun a blow job – just like in the past, say, he’s shown us someone (joyous and self-possessed) shaving off her eyebrows in Gummo.15. There’s other gun fetishism in cinema and popular culture, too – from the gun-embracing revolutionaries in Bruce LaBruce’s Raspberry Reich (2004) to photos by Helmut Newton to the countless action heroes who conflate their guns and dicks – but because it is Genet’s scene that Korine is so clearly citing, it is Genet’s scene that I wish to unpack here. And Big Arch is getting two girls to make out in the shower. The contrast is highlighted in the final shootout, when Archie's girls are busy feeling each other up in the shower while Brit and Candy rush in and kill Archie. Spring Breakers is a 2013 American comedy and drama film written and directed by Harmony Korine. It ties into the first Reconstruction after the Civil War, and shows that there is a continuum, there is a constant struggle on the part of African-Americans in the South to claim their freedom…World War II is what really provides the fuel for this. In Gummo, similarly, a tap-dancing mother coaxes her kid to smile by putting a gun to his head. https://spring-breakers.fandom.com/wiki/Spring_Breakers?oldid=5027. When Brit and Candy try to make sense of their broken spring break, as they monologue on the phone to their mothers at the film’s close, all they have are platitudes: “I’m going to do better now;” “I think that’s the secret to life…being a good person.” The “I” in the girls’ “I’m going to do better now” sidesteps any question of justice or structural change – questions which really ought to be asked, since they’ve just casually ended the lives of Archie’s entire entourage.17 As in Alien’s choice of modifier – “Look at my sheeyit!” – the expression of suffering is singular, blindered. stick loaded guns in the mouth of a gangster who was seducing them, and casually discuss offing him and taking his stuff. “You better,” the girls chorus. It captions the picture of Alien’s tenuous monopoly on violence, through which we see how the gun fellatio’s dramatisation of survival could be intensely pleasurable for him. they put loaded guns in his mouth, further humiliating him by having a cheerful little discussion with each other over his head... this discussion being about whether or not they should just kill him and take all his stuff.