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Spring Breakers Sex

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Writer-director Harmony Korine KidsGummo returns with another exploration of youth and debauchery in Spring Breakers. The story concerns four female college students suffering from cabin fever, which le them to rob a local fast food t to fund their spring break escapades. However, they get a real taste of spring the wild life is like, after being arrested and bailed out by a small-time degenerate who goes by the name Alien James Franco. Korine, the filmmaker, traditionally examines the inexperience and restlessness of youth by focusing in on its worst qualities, which is why even the regular Spring Breakers trailers probably seem like the promos for a Girls Gone Wild feature to anyone not familiar with his work. His movies tend to be experimental in structure and infuriatingly bizarre at times see: Trash Humpers - or, rather, don't see itso the mere fact sex Spring Breakers has a comprehensible plot, dialogue and character development, makes it practically normal by Korine's standards. Clearly, the director knows what he's doing, when it comes to breaker former "good girls" Gomez and Hudgens as crooks in bikinis.

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Sex is about power.

Spring breakers isn't just a terrible movie, it reinforces rape culture

We see the junction of sex and violence at various flashpoints, but narrative elements in Spring Breakers replicate the drug haze many of the characters experience, fading in and out, doubling back on itself. What once might seem like a moment of pure sexuality repeats itself only to reveal its grim, ferocious underbelly.

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From the start, Korine establishes a Girls Gone Wild -esque universe as pure bacchanalia. In this slow-motion beachside reverie, uninhibited and undressed college-aged girls undulate in libidinous bliss.

Daily variations in spring break alcohol and sexual behaviors based on intentions, perceived norms, and daily trip context

The images begin to focus on a force that runs concurrent to females shedding their inhibition: male aggression. Then, after a smash cut to black, the sound effect of a pistol being cocked introduces the grungy real world of the four main characters and their drab collegiate surroundings. Their milieu has the same sexual perversion of the beachgoers—a grimy house party boasts guests guzzling beer and inhaling marijuana smoke from the genitals of a baby doll—but none of the excitement.

The only way they can participate in spring break culture is through violence—specifically, robbery. The stolen money enables them to purchase passage to Florida, but their spring break dream quickly turns into a nightmare.

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Their hotel room, where raucous partiers snort cocaine off any surface they can find, is busted up by the cops. Spring break is not just a span of time on the calendar. Alien is a shaman of the St. Petersburg underworld, well-steeped in the connective tissue between sex, drugs, and violence.

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From his initial sales pitch to the quartet, Alien establishes his casual attitude towards violence by brandishing his two guns while leaning against his flashy convertible, clanging them together. Alien convinces the eager Candy Vanessa Hudgens and Brit Ashley Benson to stay at his house, an almost pornographic monument of commodity fetishism where firearms hang on the wall, a al of his robust masculinity. He presents them with a stack of cash in the same way a gentleman caller might offer a bouquet of roses—an image that Korine briefly interjects with a repeated shot from earlier where all four girls luxuriate in their stolen bounty.

Their playfulness starts out like a silly joke, although Alien urges caution since he knows the firearms are loaded. The longer the horseplay goes on, the more the girls appear deadly serious.

Intentions and perceived norms

Genuine terror creeps across his face until a revelation hits—to defuse the situation, he begins to suck on the guns. As he fellates the long silencers, Brit and Candy immediately recognize his display of deference, supplying orgasmic moans and positioning the guns between their legs. From this moment on, Alien elevates the status of the remaining girls the aptly named Faith jumps ship at the first of the seedy settings from sidekicks to partners in crime.

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Even in its most innocuous, consumer-friendly forms, mythologized female sexual independence carries with it the potential for violence. The elliptical nature of this double entendre mirrors the self-perpetuating loop of carnality and carnage that engulfs the entire film.

Common sense says

Like so much else in Spring Breakerswhat starts off in the realm of the sexual enters the realm of the violent with the proper contextualization. As Brit and Candy ride away from St. The final shot of Spring Breakers returns to the scene of the crime, where the camera flips degrees to show the girls running to their getaway boat—the world literally turned upside down from their learning to wield the tools that lock them into dangerous fantasies against their captors.

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They manage to preserve the spring break fantasy of conspicuous consumption and white sexuality by expunging the squalid dark side that quietly enables the trip of a lifetime. Brit and Candy suck on those same American flag-colored bomb pops, only this time, the act occurs in a decidedly unsexy dimly lit store stoop in the dead of night.

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Instead, every scene effortlessly speaks to a truth lurking underneath the MTV-manufactured image of spring break. There is something very violent about the way we enact sex in America, just as there is something fetishistically sexual bout the way we enact violence.

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