Academic literature on the topic 'Jarmusch, Jim Film'
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Journal articles on the topic "Jarmusch, Jim Film"
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Mansbridge, Joanna. "Endangered Vampires of the Anthropocene: Jim Jarmusch’s Only Lovers Left Alive and the Ecology of Romance." Genre 52, no. 3 (December 1, 2019): 207–28. http://dx.doi.org/10.1215/00166928-7965805.
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Among the recent spate of independent vampire films, Jim Jarmusch’s Only Lovers Left Alive uniquely depicts vampires whose immortality is under threat in a world tainted by environmental toxins. Facing their mortality as we humans face our own extinction, Adam and Eve are vampires of the Anthropocene. Only Lovers was often dismissed by critics as easy on substantial ideas and heavy on seductive sheen, and yet the film deftly deploys the vampire trope to explore enduring attachments, as well as endangered and endangering ways of life. Set in Detroit and Tangier, Jarmusch’s film tracks the roaming romance of his vampires, Adam and Eve, who are both cultured cosmopolitans and endangered species seeking refuge in an increasingly uninhabitable world. Adam and Eve keep alive forms of intimacy and aesthetic appreciation on the verge of extinction even as they adapt to ecological crises by adopting twenty-first-century modes of global consumption. Jarmusch strikes a careful balance between his characters’ complicity with and critique of the world they feed on. In the end the film is about survival and a white Euro-American hegemony that refuses to die.
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Schneider, Gerhard, and Gabriele Witt-Schneider. "Die Lyrik des Alltags und die Utopie eines versöhnten Amerikas." »Der digital-ökonomische Komplex« 31, no. 1 (June 2019): 111–25. http://dx.doi.org/10.30820/0941-5378-2019-1-111.
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Die Autoren zeigen zunächst, wie der Film Paterson filmische Erwartungen im Gefolge des Hollywood Mainstreamkinos unterläuft: No action, sex, crime, wobei Jim Jarmusch solche Erwartungsbrüche nicht nur durch die Art des Films schafft, der das alltägliche Leben seines Protagonisten, des Busfahrers Paterson aus der Provinzstadt Paterson (New Jersey) und dessen Frau Laura zeigt, er inszeniert sie auch im Film selbst. Der Film ist »amerikanischer Zen« und appelliert darin in besonderer Weise an die psychoanalytische Grundhaltung der nichts wollenden, gleichschwebenden Aufmerksamkeit. Was ihn auszeichnet, ist sein Bezug zur Lyrik. Zum einen gibt es Lyrik im Film – Paterson ist Dichter –, zum anderen ist der Film selbst (alltags-)lyrischer Art. Darin erweist er sich als eine Hommage an den großen amerikanischen Lyriker William Carlos Williams, dessen Langgedicht PATERSON (über Paterson, New Jersey) der hintergründige Referenzpunkt des Films ist. Im Hinblick darauf lässt sich in einer kulturpsychoanalytischen Perspektive der Film als symbolische Wiedergutmachung der durch die ökonomische Entwicklung »geleisteten« Zerstörungsarbeit und als Utopie eines Amerika verstehen, in dem Fortschritt und Mythos versöhnt sind.
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Grabias, Magdalena. "Droga, podróż, wędrówka w Tylko kochankowie przeżyją Jima Jarmuscha." Humaniora. Czasopismo Internetowe 30, no. 2 (June 15, 2020): 91–100. http://dx.doi.org/10.14746/h.2020.2.7.
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Two first decades of the 21st century have revealed an increasing popularity of the horror genre. In particular, we have been witnessing the renaissance of Gothic cinema, especially the vampire sub-genre. It is conspicuous that the original vampire story formula has lately undergone numerous significant alterations. Vampires have evolved from cold and soulless monsters to humanised romantic heroes. In the new millennium, a static Gothic diegesis gets frequently replaced by a dynamic reality, in which movement is a predominant feature. This article is devoted to the motifs of the road, journey and travels in Jim Jarmusch’ film Only Lovers Left Alive.
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CENCIARELLI, CARLO. "Bach and Cigarettes: Imagining the Everyday in Jarmusch'sInt. Trailer. Night." Twentieth-Century Music 7, no. 2 (September 2010): 219–43. http://dx.doi.org/10.1017/s147857221100017x.
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AbstractIn Jim Jarmusch'sInt. Trailer. Night(2002) a young American actress, alone in her trailer for a ten-minute break, lights up a cigarette and puts on a CD of theGoldberg Variations. In this short, almost plotless experimental film Bach sounds outside the frameworks that typically motivate the diegetic presence of so-called ‘classical music’ in cinema, detached from the places and signifiers of high art and from high-level meanings and pointed occurrences. This unusual representation of listening opens up two complementary lines of enquiry: first, into the way in which Jarmusch draws on Bach to invent a reality that is strange and irreducible, marked by unexpected cultural affiliations and by an elusive affective realm; second, into the way in which, by thus channelling Bach into his poetics of the everyday, the director reinvents the music's own identity, putting forward a de-essentialized image of its cultural placement and aesthetic status.
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Blakey, Elizabeth. "Showrunner as Auteur: Bridging the Culture/ Economy Binary in Digital Hollywood." Open Cultural Studies 1, no. 1 (November 27, 2017): 321–32. http://dx.doi.org/10.1515/culture-2017-0029.
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Abstract This article engages the metaphor of showrunner as auteur to examine freedom of expression in television. News articles offer the metaphor of showrunner as auteur, with Hollywood journalists discussing the writer-producers of the new Golden Age of Television. Media convergence, including cable and digital technologies, has disrupted traditional TV organisations and power brokers, bringing about a renaissance. Jenkins (2006) challenges scholars to see media convergence in terms of voice and participation, rather than technology. Following Jenkins, this study engages auteur theory, and Marshall McLuhan’s analysis of the medium and the message, to better understand TV showrunners. Critical insights from Marx and Bourdieu are considered with regard to the interplay of cultural and economic forces. The analysis compares earlier film directors-Jim Jarmusch and the Coen Brothers-with showrunners of the cable and digital era, including David Chase, the Wachowskis, David Benioff, and Diablo Cody. Because of disruptive technologies, TV showrunners are able to break free from media restraints and bridge the culture/economy binary that structures TV as a field of production. No longer bound by broadcast censorship and scheduled programming, TV showrunners are producing shows that express their signature messages, transforming TV into a cinematic experience.
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Salimova, Leila F. "HISTRIONICS AS A SUPREME LIFE FORM: JIM JARMUSH’S “DEAD MAN” IN THE CONTEXT OF ANTONIN ARTAUD’S LIFE." World of Russian-speaking Countries 6, no. 4 (2020): 127–36. http://dx.doi.org/10.20323/2658-7866-2020-4-6-127-136.
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The article is a kind of aesthetic experiment that reveals patterns between two stories from the life of the fictional character William Blake from the film "dead Man" by American Director Jim Jarmusch and French theater theorist and philosopher Antonin Artaud. The complexity of the work lies in the fact that the comparison takes place between a fictional hero and a real person who made identical metaphysical trips to the bosom of an ancient civilization. The path is presented as an experience of reincarnation with the possibility of gaining new knowledge, liberation from the burden of pain and illness, fears and anxiety. The author is interested, among other things, in the stages of transformation of the personality and its transition from a reasonable state to a mad state with the exit to purification and liberation of the hero in death. The metamorphosis of the transition to the territory of the transcendent (mad) develops into a holistic individual performance-a challenge to society. Theatricality as the highest form of life itself and its completion determine the initiation process of Artaud and Blake. Artezianka theatricality and tragedy are the tears of all life and the creative forces. Blake's theatricality is realized in a gradual alienation from the everyday world and immersion in the ritual world, which requires him to perform a number of mandatory rites, for example, applying the blood of a slaughtered animal to the face. Comparative analysis takes into account the concept of disease and morbidity, which is considered not from a medical point of view, but in philosophical and aesthetic discourses. For both characters, the fact of theatricalization of life, the Monstration of its aesthetic and moral categories through the optics of ritual and ritual practice of the Indians is postulated.
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Daly, Roy. "Ma, mu and the interstice." Alphaville: Journal of Film and Screen Media, no. 5 (August 1, 2013): 87–100. http://dx.doi.org/10.33178/alpha.5.06.
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This article focuses on the centrality of the interstice to the underlying form of three of Jim Jarmusch’s films, namely, Stranger Than Paradise (1984), Dead Man (1995) and The Limits of Control (2009). It posits that the specificity of this form can be better understood by underlining its relation to aspects of Far Eastern form. The analysis focuses on the aforementioned films as they represent the most fully-fledged examples of this overriding aesthetic and its focus on interstitial space. The article asserts that a consistent aesthetic sensibility pervades the work of Jarmusch and that, by exploring the significance of the Japanese concepts of mu and ma, the atmospheric and formal qualities of this filmmaker’s work can be elucidated. Particular emphasis is paid to the specific articulation of time and space and it is argued that the films achieve a meditative form due to the manner in which they foreground the interstice, transience, temporality and subjectivity.
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JARVIS, BRIAN. "“You'll Never Get It If You Don't Slow Down, My Friend”: Towards a Rhythmanalysis of the Everyday in the Cinema of Jim Jarmusch and Gus Van Sant." Journal of American Studies 54, no. 2 (May 31, 2019): 385–406. http://dx.doi.org/10.1017/s0021875818001421.
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This essay offers close readings of films by the independent US directors Jim Jarmusch and Gus Van Sant with a particular focus on their slow-paced representation of everyday life. Building on the work of Henri Lefebvre, the author proposes that so-called “slow cinema” can be read not simply as an aesthetic choice, but as an alternative and potentially oppositional rhythm in the era of fast capitalism.
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Stępień, Justyna. "Transgression of Postindustrial Dissonance and Excess: (Re)valuation of Gothicism in Jim Jarmusch’s Only Lovers Left Alive." Text Matters, no. 6 (November 23, 2016): 213–26. http://dx.doi.org/10.1515/texmat-2016-0013.
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The paper gives insight into the revaluation of popular Gothic aesthetics in Jim Jarmusch’s 2014 production Only Lovers Left Alive. Drawing on critical theory and the postmodern theoretical framework, the article suggests that the film transgresses contemporary culture immersed in a “culture of death” that has produced a vast amount of cultural texts under the rubric of “Gothicism.” By considering Jean Baudrillard’s concept of transaesthetics and Judith Halberstam’s writings on contemporary monstrosity, the paper shows that a commodified Gothic mode has lost its older deconstructive functions that operated on the margins of the mainstream. Now entirely focused on the duplication of the same aesthetic codes and signs, Gothic productions conform to the rules of postindustrial culture, enriching entertainment imagery with the neutralized concept of “otherness.” Hence, the article engages primarily with Jarmusch’s indie aesthetics that goes beyond easily recognizable patterns and generic conventions and allows the director to emphasize that the arts are rejuvenating forces, the antidote to a commoditized environment. Then, the focus is on the construction of main characters—Adam and Eve, ageless vampires and spouses—who thanks to nostalgic theatricality and performance reconfigure the mainstream monstrosity. Ultimately, the article emphasizes that Jarmusch’s film, to a large extent, becomes a warning against the inevitable results of advanced capitalism practiced on a global scale.
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Rolle, Carolina. "Narrar Boedo desde el Ocio hiperactivo." Significação: Revista de Cultura Audiovisual 42, no. 44 (December 18, 2015): 359. http://dx.doi.org/10.11606/issn.2316-7114.sig.2015.100868.
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<p>Neste artigo construímos um diálogo entre o filme <em>Permanent Vacation </em>(1980), <em>ópera prima </em>de Jim Jarmusch e o romance de iniciação de Fabián Casas, <em>Ocio</em> (2000). Para isto, propomos pensar a noção de <em>transmedialidade </em>como uma ferramenta que nos habilite criar um diálogo intermedia e transgender ao interior de uma mesma poética, mas também de uma mesma problematização dos sujetos protagonsitas entre duas obras.</p>
Dissertations / Theses on the topic "Jarmusch, Jim Film"
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Mauer, Roman. "Jim Jarmusch Filme zum anderen Amerika." Mainz Bender, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2644429&prov=M&dok_var=1&dok_ext=htm.
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Leitner, Birgit [Verfasser], and Lorenz [Akademischer Betreuer] Engell. "Wiederholungsstrukturen in den Filmen von Jim Jarmusch / Birgit Leitner ; Betreuer: Lorenz Engell." Weimar : Professur Medienphilosophie, 2007. http://d-nb.info/1115730363/34.
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Santinell, Victor. "Jim Jarmusch som en American Independent, Dead Man som en Acid Western : en studie av hur film kategoriseras." Thesis, Växjö University, School of Humanities, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-2414.
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Guieu, Julien. "Esthétiques de l'indice dans le cinéma américain des années 2000." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030141.
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Plusieurs films américains des années 2000 (Mulholland Drive et INLAND EMPIRE de David Lynch, The Virgin Suicides de Sofia Coppola, Memento de Christopher Nolan, The Pledge de Sean Penn, Broken Flowers de Jim Jarmusch et Zodiac de David Fincher) opèrent une remise en question de la fonction, du fonctionnement et de la représentation des indices sur lesquels s’appuient tant la littérature que le cinéma policiers. Ces films, qui reprennent certains codes du genre sans être tous à proprement parler des « films policiers », ont pour point commun de mettre en scène une enquête qui n’aboutit pas et qui se retourne contre l’enquêteur jusqu’à ébranler son identité. Ils font ainsi écho aux récits de détection dits métaphysiques (The Crying of Lot 49 de Thomas Pynchon, City of Glass de Paul Auster...) : l’indice, loin de permettre la clôture du récit, devient le moyen de son ouverture. À sa juste interprétation succède le foisonnement des lectures et des histoires possibles. Autrefois transparent, il se fait opaque ; de fluide, sa circulation devient accidentée – ce à quoi correspondent de nouvelles manières de le filmer. Les codes du genre policier visant à marquer l’indice tout en favorisant sa lisibilité et l’identification avec l’enquêteur (insert en gros plan, raccord-regard, faible profondeur de champ…) sont détournés selon diverses stratégies : inversion, exagération, etc. Celles-ci ont pour effet de déjouer les attentes des spectateurs et de les rendre inquiets en rétablissant l’incertitude fondamentale de la littérature policière, que le cinéma policier tend à minorer, tout en la mettant au service de projets esthétiques par ailleurs très différents les uns des autresA few American films released between 2000 and 2007 (David Lynch’s Mulholland Drive and INLAND EMPIRE, Sofia Coppola’s The Virgin Suicides, Christopher Nolan’s Memento, Sean Penn’s The Pledge, Jim Jarmusch’s Broken Flowers and David Fincher’s Zodiac) question the function, inner workings and representation of the clues on which detective fiction and film rely. These movies, which take up certain tropes of the genre without necessarily being detective films per se, all revolve around an investigation which is left incomplete and eventually turns against the investigator, to the point of shattering his or her sense of identity. They thus follow in the footsteps of metaphysical detective fiction (novels such as Thomas Pynchon’s The Crying of Lot 49 and Paul Auster’s City of Glass), in that the clue, instead of bringing about the closure of the narrative, becomes the instrument of its open-endedness. Its one correct interpretation is replaced by a proliferation of possible readings and stories. Once transparent, it turns opaque; once fluid, its circulation becomes problematic – which leads to new ways of filming it. The codes that detective films use to point out the clue, increase its legibility and foster identification with the investigator (close-up insert, eyeline match, shallow focus…) are subverted through a number of strategies such as inversion and exaggeration. These aim to deceive the spectator’s expectations and to unsettle him or her by reinstating the fundamental uncertainty of detective fiction, which detective films normally tend to repress, and which is here incorporated into aesthetic projects that otherwise differ widely
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Murillo, Céline. "L'esthétique des films de Jim Jarmusch : répétition et référence." Toulouse 2, 2008. http://www.theses.fr/2008TOU20060.
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L'étude des caractéristiques les plus formelles de l'écriture filmique de Jim Jarmusch, telle que les structures de l'énonciation font apparaître l'importance de l'inscription de la réception dans le film. Ce repli et l'intertextualité qui l'accompagne montrent que la référence se construit essentiellement dans le texte des films. C'est un des rôles de la répétition. Cette dernière offre de nombreux aspects : série de motifs, regards multiples sur le même objet, rythmes visuels et sonores. L'étude de la répétition mène au coeur de l'esthétique de Jarmusch, de son langage cinématographique et enfin de son propos. La tentative ambiguë de Jarmusch de renvoyer au monde malgré la primauté des formes, la planéité des images et le recul des intrigues aboutit à une ré-vision de l'Amérique. L'image répétitive traduit le monde dans le langage de la variation dont les sens se développent hors du paradigme binaire identité/opposition. La répétition problématise la référence en trois points : référence à l'identité par la perte de soi dans le double ; référence à la société dans le refus du faire répétitif, donc du travail ; référence au monde dans son ensemble par un sentiment de mélancolie. Cette mélancolie jarmuschienne, s'étendant progressivement des marginaux à tout un chacun, révèle ainsi une visée humanisteThe study of the formal characteristics in Jarmusch filmic texts, such as the structure of enunciation, reveal how the inscription of reception in the text is central to its general aesthetics. This reflexive quality and the intertextuality that it brings about show that the referential process works mainly inside the filmic text : it relies on repetition. This latter form shows numerous aspects in Jarmusch's works: a series of motifs, multiple points of view on the same object or rhythmic patterns of image and sound. Analyzing repetition leads us to the core of Jarmusch's aesthetics, of his cinematic language, and eventually his message. Jarmusch ambiguously attempts at dealing with the world in spite of his foregrounding of form, enhancing the flatness of the image, and partial renouncement of plot, which leads to a renewed vision of America. His repetitive style translates the world into a language of variation that develops outside the binary paradigm of identity vs opposition. Repetition redefines the problematics of reference on three levels, a reference to identity through a loss of the self among dual representations; a reference to society through the refusal of repetitive action, that is work; a reference to the world itself through the feeling of melancholy. Jarmuschian melancholy, by spreading from outcasts to each and every man and woman, reveals his humanistic outlook
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Kopp, Simon [Verfasser]. "Grenzüberschreitungen : zum Verhältnis von Bild und Musik in Jim Jarmuschs Dead Man / vorgelegt von Simon Kopp." 2010. http://d-nb.info/1004396147/34.
Full textBooks on the topic "Jarmusch, Jim Film"
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Jim Jarmusch y el sueno de los justos / Jim Jarmusch and the Dream of the Justs (Directores De Cine / Film Directors). Madrid: Ediciones JC, 2002.
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Sukita, Masayoshi; Jim Jarmusch. Mystery Train: A Film by Jim Jarmusch. Shin Yamamoto, 1989.
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Choi, Jinhee, ed. Reorienting Ozu. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190254971.001.0001.
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Reorienting Ozu: A Master and His Influence offers new perspectives on Ozu Yasujiro and his influence on global art cinema directors. Ozu has been admired both by film scholars and filmmakers around the globe, having been at the center of significant scholarly debates, and being considered by many as a precursor of an aesthetic legacy and sensibility explored in the global art scene. By situating Ozu within the proper historical and discursive contexts, and thereby breaking with essentialist, traditionalist, and formalist readings of him, this volume helps to initiate a new theorizing and historical understanding of Ozu as a director who had to negotiate with production and socio-historical circumstances of Japan. Further explored in the volume is his relationship with his successors, who are inspired by and pay homage to Ozu, including Hou Hsiao-hsien, Suo Masayuki, Iguchi Nami, Claire Denis, Wim Wenders, Kore-eda Hirokazu, Jim Jarmusch, Aki Kaurismäki, and Abbas Kiarostami.
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O'Meara, Jennifer. Engaging Dialogue. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420624.001.0001.
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This book examines the centrality of dialogue to American independent cinema, arguing that it is impossible to separate small budgets from the old adage that ‘talk is cheap’. Focusing on the 1980s until the present, particularly on films by writer-directors like Jim Jarmusch, Noah Baumbach and Richard Linklater, the book demonstrates dialogue’s ability to engage audiences and bind together the narrative, aesthetic and performative elements of selected cinema. When compared to the dialogue norms of more mainstream cinema, the verbal styles of these independent writer-directors are found to be marked by alternations between various extremes, particularly those of naturalism and hyper-stylization, and between the poles of efficiency and excess. More broadly, these writer-directors are used as case studies that allow for an understanding of how dialogue functions in verbally experimental cinema, which, this book contends, is more often found in ‘independent’ or ‘art’ cinema. In questioning the association of dialogue-centred films with the ‘literary’ and the ‘un-cinematic’, the book highlights how speech in independent cinema can instead hinge on what is termed ‘cinematic verbalism’: when dialogue is designed and executed in complex, medium-specific ways. More broadly, the book provides a framework for analysing dialogue design and execution that can be readily applied to other films and filmmakers. It also highlights how speech can be central to cinema without overshadowing its medium-specific components. In so doing, the book develops new connections between film dialogue, reception studies, independent cinema and auteur studies.
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Freedman, Linda. Continuing Visions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198813279.003.0011.
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The questions that drove Blake’s American reception, from its earliest moments in the nineteenth century through to the explosion of Blakeanism in the mid-twentieth century, did not disappear. Visions of America continued to be part of Blake’s late twentieth- and early twenty-first century American legacy. This chapter begins with the 1982 film Blade Runner, which was directed by the British Ridley Scott but had an American-authored screenplay and was based on a 1968 American novel, Do Androids Dream of Electric Sheep? It moves to Jim Jarmusch’s 1995 film, Dead Man and Paul Chan’s twenty-first century social activism as part of a protest group called The Friends of William Blake, exploring common themes of democracy, freedom, limit, nationhood, and poetic shape.
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Garin, Manuel, and Albert Elduque. Playing the Holes. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190254971.003.0012.
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Across his entire career, from the early nansensu films to the late family dramas, Ozu consistently used gags and humor to alleviate the tension of dramatic situations, further enriching their significance. This chapter explores how such Ozuesque gags combine irony and nostalgia in order to balance the overall tone of the narrative, relying on formal strategies such as modularity and repetition. By discussing Wayne C. Booth’s concept of stable irony and other critical sources, the chapter argues that Ozu’s aging (not just running) gags are capable of bringing characters and audiences together because they counterbalance the difficulties of everyday family life and the weight of time. In an attempt to grant a wider comparative analysis, the chapter studies his own gags as well as their influence on contemporary filmmakers like Jim Jarmusch and Aki Kaurismäki, who readapt Ozu’s mixture of playfulness and solitude in their explorations of the contemporary world.
Book chapters on the topic "Jarmusch, Jim Film"
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Lombardo, Patrizia. "Jim Jarmusch’s Philosophy of Composition." In Memory and Imagination in Film, 121–37. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137319432_6.
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Kulezic-Wilson, Danijela. "Jim Jarmusch’s Dead Man and the Rhythm of Musical Form." In The Musicality of Narrative Film, 117–36. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137489999_7.
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Ryan, Jack. "Jim Jarmusch’s Paterson." In Next Generation Adaptation, 3–20. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832603.003.0001.
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Jarmusch's film is not a strict adaptation of the 1946 William Carlos Williams epic poem by the same name. One might more appropriately bill it as a cinematic homage to observational poetry, as essay contributor Jack Ryan does. Jarmusch does, after all, shape his films around the tenets of such poetry. Jarmusch structures the film around what is taken to be a typical work week of its hero, Paterson (Adam Driver). That hero builds a deep sense of place into the poems he writes. The chapter offers that these qualities form the center of Jarmusch’s adaptation, which finds a way to allow a daily routine to protect the creative consciousness from the crush of modernity. The film ultimately favors the process of poetry over the content of any singular poem, a point the chapter claims that Jarmusch returns to each time Paterson meets another poet.
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Kappes, Mirjam. "Night tales: Jim Jarmusch’s nocturnal film poetics." In Les Variations Jarmusch, 141–57. Artois Presses Université, 2017. http://dx.doi.org/10.4000/books.apu.14976.
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"Alternative Film-Narrationen und Hollywood." In Jim Jarmusch: Musik und Narration, 19–36. transcript-Verlag, 2017. http://dx.doi.org/10.14361/9783839440247-003.
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Stubbs, Andrew. "Spike Jonze, Propaganda/Satellite Films, and Music Video Work: Talent Management and the Construction of an Indie-Auteur." In ReFocus: The Films of Spike Jonze, 213–30. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447621.003.0012.
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This chapter critically evaluates the status Jonze has earned as indie-auteur, a label placing him alongside filmmakers such as Jim Jarmusch, the Coen Brothers and Steven Soderbergh. Jonze’s filmmaking career began in part thanks to his music video work, particularly for Propaganda Films; Stubbs analyses Propaganda Films’ talent management practices and their role in helping to develop Jonze’s brand and industry profile. The chapter investigates the economic and industrial strategies underpinning Jonze’s cultural and commercial profile, synthesizing textual analyses of Jonze’s music videos with marketing and critical discourse analysis. Stubbs aims to reconfigure Jonze’s authorial profile while considering the cultural implications of the indie-auteur label in general.
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O'Meara, Jennifer. "Introduction." In Engaging Dialogue, 1–10. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420624.003.0001.
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This introduction explore the book’s aims of demonstrating the ability of dialogue to engage audiences and bind together the narrative, aesthetic and performative elements of selected independent cinema, from the 1980s until the present day. The chapter justifies the focus on the verbally creative works of Wes Anderson, Noah Baumbach, Hal Hartley, Jim Jarmusch, Richard Linklater and Whit Stillman, while highlighting links between such cinema and that of New Hollywood and the French New Wave. It introduces the concept of ‘cinematic verbalism’ and the related label of ‘cinematic verbalists’, which will be used throughout the book to refer to these writer-directors’ work. Overall, the chapter details how, by focusing on the ways in which dialogue in American independent cinema is designed and executed, we can question the association of dialogue-centred films with the ‘literary’ or ‘un-cinematic’.
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Goode, Mike. "Blakespotting." In Romantic Capabilities, 35–64. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198862369.003.0002.
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The chapter argues that the unpredictable viral behavior of William Blake’s proverbs in contemporary culture is critically and politically instructive. The widespread practice of citing Blake proverbs across various media platforms reveals the radical potential that Blake’s multi-media poetry possessed within the “original” historical contexts in which he wrote. Understanding the proverb form as a viral medium that spreads through a population’s contradictory desires for self-regulation illuminates proverbs’ centrality to Blake’s art and its challenge to the regulatory power of laws. The intellectual groundwork for this challenge lay in eighteenth-century practices of collecting national proverbs and in historical research into the Book of Proverbs. The chapter closes by analyzing how Blake’s proverbs relate to computer worms and also how they inform the ways that Jim Jarmusch’s film Dead Man laments America’s history of missed political opportunities.
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O'Meara, Jennifer. "The Integrated Soundtrack and Lyrical Speech." In Engaging Dialogue, 49–74. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420624.003.0004.
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This chapter considers dialogue in relation to the film soundtrack as a whole, arguing that careful approaches to dialogue in American independent cinema extend to include a creative strategy when combining dialogue, music and sound effects. Analysis of the interaction of music and sound effects with dialogue includes: how musical choices made by characters are verbally contextualised, and how indie filmmakers blur the boundaries between sound effects and dialogue. It is argued that by incorporating portions of inaudible dialogue, American independent cinema can position audience members as eavesdroppers rather than sanctioned listeners – calling on us to listen selectively, and engaging us in the process. The chapter extends Claudia Gorbman’s concept of ‘melomania’ by thinking about characters’ discussion of music as related to her focus on music loving directors. The examination of the integrated soundtrack also considers lyrical speech in relation to polyglot (multilingual) cinema and repetition. Through a case study of Jim Jarmusch’s Only Lovers Left Alive (2013), the chapter also theorises the links between both language and music as markers of time.