Crossing the borders between fiction and reality –
On the reception of the Film "Kids" by Larry Clark

von: Alena Saucke

A Table of Contents

I. Introduction: Thesis

II. A Youth culture between reality and fiction (short summary of the plot)

B Definitions of Documentary

1. Modes of representing reality
2. Textual analysis: The depiction of violence

C Visual Pleasure and the problem of viewer identification in Laura Mulvey’s Visual Pleasure and Narrative Cinema

D Fact or illusion of reality?

III. Conclusion

Appendix

Bibliography

I. Introduction

“Jesus Christ, what happened?”- this last line of the 1995 ‘problem’ film Kids best describes the reaction of most viewers after having caught an insight into the cruel world of New York teenagers in the nineties. Sickened by the intense and close images of sex, drugs and violence in an apparently innocent environment, most spectators refused to accept this callous and provocative view on young people. However, there were also fascinated voices, which were impressed by the authentic portrayal of teenagers’ behaviour behind their parents’ backs. The discussion ranged from reckless child-pornography to documentary art, only to name the most common among the diverse opinions about Larry Clark’s confrontation with the alienation of today’s youth. It was even recommended as a cautionary guide for parents who seem to be unaware of their children’s leisure activities. Personally, I would have to include myself into the group of curious viewers, who do not necessarily gain pleasure by watching the misery of teen culture, but are attracted by the phenomenon that surrounds it. Nine years after its first release, the film still has a strange impact on my memory. I asked myself why so many people perceived this movie negatively, when it is usual to find sexual images and violence in the media. It seemed particularly interesting how the construction of content and technique worked together and created a shockingly real image. Having these questions in mind I tried to find evidence in film reviews, theoretical essays and filmtechnical articles. The focus of my paper lies on the effect of the pseudo-documentary style, with which the subject is presented and the problem of viewer identification as mentioned in Laura Mulvey’s film-theoretical essay Visual Pleasure and the Narrative Cinema. Besides, I will discuss the depiction of violence and shortly refer to the question if society can really be reflected adequately.

Method and approach

Due to the novelty of the picture, I was confronted with a shortage of secondary literature. Therefore, I used the World Wide Web as a versatile medium for research, looked for literature on the most interesting subjects within the film, and even found contributions to the topic on TV. This collection of information helped me to construct a basic understanding of the film, its intentions and the consequences of its outcome. The technical analysis of a few scenes that I considered important stands representative for the entire movie. Nevertheless, I have only observed and compared existing patterns of analysis and do not claim my results to be the ultimate. I attempted to include contrary views and multiple meanings to achieve a better understanding of this film.

A Youth culture between reality and fiction Summary of the plot

Director Larry Clark boldly lets the audience take part in 24 hours of a group of adolescents, whose sole occupation is to wander aimlessly around Washington Square Park, skateboarding, drinking, buying drugs with the money they steal from their parents, partying in public or private houses and most important talking about and having unprotected sex. The viewer gets to accompany the male lead character Telly (played by Leo Fitzpatrick), a ca. 15- year old jobless boy, who finds his quest in deflowering virgins, assuming that he won’t get AIDS. Together with his friend Casper (Justin Pierce), he steals alcohol, harasses homosexuals and ethnic minorities while being on the hunt for new sexual adventures, all of which seems like a harmless hobby to beat time. However, we learn that he is already infected with the virus, when the female lead character Jenny (played by Chloe Sevigny), a prior virginal ‘victim’ of Telly, turns out HIV-positive. While Telly is “hunting” for his next object of desire, 13-year old Darcy, Jenny desperately tries to inform him, in order to prevent further infections. Unfortunately, she does not manage to arrive in time; Telly, ignorant of his disease, has already convinced Darcy of sleeping with him. The tragedy finds its climax, when Jenny, who fell asleep drugged, is raped by Telly’s friend Casper, who is then infected as well.

Background information

Born (1943) and raised in Oklahoma, Larry Clark is best known for his sexually charged and documentary-like photographs (Tulsa, 1971; Teenage Lust, 1983; Perfect Childhood, 1993.see appendix), which even inspired directors like Martin Scorsese or Gus van Sant for their films. Fascinated with the chasms of youth life, he gave his debut as a director to capture a vivid close- up of American teenage life away from home and the more or less attentive eyes of their parents.

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