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Journal articles on the topic 'Jarmusch, Jim Film'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Mansbridge, Joanna. "Endangered Vampires of the Anthropocene: Jim Jarmusch’s Only Lovers Left Alive and the Ecology of Romance." Genre 52, no. 3 (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 roami

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2

Schneider, Gerhard, and Gabriele Witt-Schneider. "Die Lyrik des Alltags und die Utopie eines versöhnten Amerikas." »Der digital-ökonomische Komplex« 31, no. 1 (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 ausze

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3

Grabias, Magdalena. "Droga, podróż, wędrówka w Tylko kochankowie przeżyją Jima Jarmuscha." Humaniora. Czasopismo Internetowe 30, no. 2 (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

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4

CENCIARELLI, CARLO. "Bach and Cigarettes: Imagining the Everyday in Jarmusch'sInt. Trailer. Night." Twentieth-Century Music 7, no. 2 (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 B

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5

Blakey, Elizabeth. "Showrunner as Auteur: Bridging the Culture/ Economy Binary in Digital Hollywood." Open Cultural Studies 1, no. 1 (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

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6

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 an

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7

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

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8

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 (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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9

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

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10

Rolle, Carolina. "Narrar Boedo desde el Ocio hiperactivo." Significação: Revista de Cultura Audiovisual 42, no. 44 (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>

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11

Backman-Rogers, Anna. "Making nothing happen." Alphaville: Journal of Film and Screen Media, no. 2 (February 14, 2012): 76–87. http://dx.doi.org/10.33178/alpha.2.06.

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This article draws from Gilles Deleuze’s interpretation of the Nietzschean concept of “the eternal return” in order to read Jim Jarmusch’s film Broken Flowers as being not merely a study in duration, apathy and reactive nihilism, but also a film which, through its formal repetitive structure, also offers pathways to transformation and affirmation. As such, I argue that the central protagonist, Don Johnston undergoes a subtle yet crucial change in the course of the film from a state of ressentiment to affirmation and becoming. I also characterise the film as an absurdist quest or road movie.

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12

Doel, Marcus A., and David B. Clarke. "Afterimages." Environment and Planning D: Society and Space 25, no. 5 (2007): 890–910. http://dx.doi.org/10.1068/d436t.

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In this paper we argue that montage is at the heart of contemporary human geography. We demonstrate the centrality of montage in a wide variety of domains, including the analysis of modernity, the critique of political economy, and the practice of spatial science, before drawing out the implications of this centrality in the wake of so-called ‘nonrepresentational’ theory. While nonrepresentational styles of thought ordinarily veer off into considerations of performance, practice, and enactment, the ontological and epistemological play of montage plunges theoretical practice into what Agamben,

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13

Woźniak, Maciej. "Kino tworzące poezję. Przenikanie się literatury i filmu na przykładzie Truposza Jima Jarmuscha i cyklu poetyckiego Krzysztofa Kuczkowskiego." Roczniki Kulturoznawcze 9, no. 4 (2018): 87–103. http://dx.doi.org/10.18290/rkult.2018.9.4-6.

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14

Stroeva, Olesya V. "The ‘hero archetype’ in the neo-mythological context of contemporary screen culture." Journal of Flm Arts and Film Studies 11, no. 2 (2019): 116–26. http://dx.doi.org/10.17816/vgik112116-126.

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The essay examines the image of the hero in the contemporary neo-mythological field of mass screen culture. The author identifies the main features of the hero archetype and the core cultural meanings forming this concept and analyzes images of the neo-mythological heroes of our time, taking examples of mass cinema and authorial cinema and revealing differences between these two categories. According to the author, mass culture creates the hero model according to the principle of bricolage, remaining within the framework of the Christian eschatological paradigm and synthesizing it with scienti

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15

Gonzales, Eric. "Jim Jarmusch’s Aesthetics of Sampling." Kinema: A Journal for Film and Audiovisual Media, April 10, 2005. http://dx.doi.org/10.15353/kinema.vi.1102.

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JIM JARMUSCH'S AESTHETICS OF SAMPLING IN GHOST DOG - THE WAY OF THE SAMURAI ICE Cube's "Gangsta's Fairytale" (1990), Tupac Shakur and Snoop Dogg's "2 of Amerikaz Most Wanted" (1996), 50 Cent's "What Up Gangsta" (2003): from the end of the 1980s, in countless raps,(1) the gangster persona has inspired a host of MCs, who since then have adopted - and adapted - an imagery and themes the American film industry started dealing with sixty years earlier.(2) However, this cross-fertilization can work the other way round too. A director like Jim Jarmusch has chosen to invigorate Ghost Dog - The Way of

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16

Dmitrieva, T. A. "Art and mythology of William Blake in the context of the "Dead Man" by Jim Jarmush." Siberian Journal of Anthropology 4, no. 4 (2020). http://dx.doi.org/10.31804/2542-1816-2020-4-4-201-211.

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The presented article is devoted to the study of the image of creativity and mythology of William Blake in the film by J. Jarmusch "Dead Man". The author has carried out a detailed philosophical and art analysis of the film "Dead Man" and graphic works by William Blake, in particular, the series of engravings “Heads of Ghosts”, engravings “Ghost of the Flea” and “The Lost Boy”. The author also examined poetry and mythology in the work of William Blake based on the material of the works "The Marriage of Hell and Eden" (1973), "Songs of Innocence" (1789) and "Songs of Experience" (1973). Having

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17

Murillo, Céline. "The Limits of Control (Jim Jarmusch, 2009): An American Independent Movie or a European Film?" InMedia, no. 1 (November 14, 2011). http://dx.doi.org/10.4000/inmedia.129.

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18

Migliore, Riccardo, and Luiz Antonio Mousinho. "OUTSIDERS NA TELONA: ALTERIDADE E DIALOGISMO EM GHOST DOG E NO CINEMA DE JIM JARMUSCH." Animus. Revista Interamericana de Comunicação Midiática 18, no. 38 (2019). http://dx.doi.org/10.5902/2175497733155.

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Neste artigo trazemos uma análise reflexiva sobre o filme Ghost dog, do diretor independente Jim Jarmusch. Para tal propósito, trabalhamos com conceitos como representação e identidade, com ênfase nas interações dialógicas que, na tela, vêm a se criar entre as entidades ficcionais que compõem o universo diegético deste longa-metragem, assim como outros filmes do mesmo cineasta. Percebe-se que, neste filme e na obra de Jarmusch como um todo, o dialogismo e o reconhecimento do outro não são apenas elementos recorrentes, mas adquirem um papel meramente estrutural, tanto do ponto de vista temático

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19

Bitka, Stanisław. "Dźwięk i znaczenie w Truposzu Jima Jarmuscha." Przestrzenie Teorii, no. 29 (January 31, 2019). http://dx.doi.org/10.14746/pt.2018.29.9.

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The aim of the article is to prove that the Dead Man soundtrack written by Neil Young plays an essential part in understanding and interpreting Jim Jarmusch’s film. The author of the article highlights the meaningful role of Dead Man in the director’s oeuvre, analyses the film’s structure, examines the process of recording the soundtrack as well as characterizes the selected scenes. He singles out the music motifs, their functions, and outlines the musical and dramatic effect of the film.

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20

Kapsaskis, Dionysios. "Translation as a Gap and as a Site of Creativity in the Films of Jim Jarmusch." Quarterly Review of Film and Video, August 11, 2020, 1–27. http://dx.doi.org/10.1080/10509208.2020.1803690.

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21

Petković, Rajko, and Krešimir Vuković. "Postmodern Philosophy and the Impact of the Other in Jim Jarmusch's Films." [sic] - a journal of literature, culture and literary translation, no. 2.1 (June 1, 2011). http://dx.doi.org/10.15291/sic/2.1.lc.6.

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22

Silva, Marcos Paulo da, and Victor Hugo Sanches Pereira. "A vida cotidiana em Paterson e as categorias fenomenológicas do pensamento." Lumina, April 30, 2021, 47–62. http://dx.doi.org/10.34019/1981-4070.2021.v15.21539.

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O artigo volta-se à análise do longa-metragem Paterson (2016), do diretor norte-americano Jim Jarmusch, obra que apresenta como principal referência os eventos que sucedem a vida cotidiana. A trama do romance acontece em um cenário urbano, sob o protagonismo de um tranquilo motorista de ônibus que descreve os acontecimentos do seu dia a dia em abstrações poéticas. O trabalho propõe-se a uma reflexão sobre os impactos que provém da organização da vida cotidiana ordenada pelo tempo da produção linear. A vida cotidiana pode ser compreendida a partir de um cenário progressivo de fenômenos mediados

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23

Eubanks, Kevin P. "Becoming-Samurai." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2643.

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   Samurai and Chinese martial arts themes inspire and permeate the uniquely philosophical lyrics and beats of Wu-Tang Clan, a New York-based hip-hop collective made popular in the mid-nineties with their debut album Enter the Wu-Tang: Return of the 36 Chambers. Original founder RZA (“Rizza”) scored his first full-length motion-picture soundtrack and made his feature film debut with Ghost Dog: The Way of the Samurai (Jim Jarmusch, 2000). Through a critical exploration of the film’s musical filter, it will be argued that RZA’s aesthetic vision effectively deterritorialises the

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