Version classiqueVersion mobile

Les Variations Jarmusch

 | 
Esther Heboyan

Partie I. Jim Jarmusch, perspectives et (dis)continuités / Jim Jarmusch, perspectives and (dis)continuities

Appearing through others: the intertextual self-portraits of Jim Jarmusch

Alexander Davis

Les formats HTML, PDF et ePub de cet ouvrage sont accessibles aux usagers des bibliothèques et institutions qui l'ont acquis dans le cadre de l'offre OpenEdition Freemium for Books. L’ouvrage pourra également être acheté sur les sites des libraires partenaires, aux formats PDF et ePub, si l’éditeur a fait le choix de cette diffusion commerciale. Si l’édition papier est disponible, des liens vers les librairies sont proposés sur cette page.

Extrait du texte

“I just take the things I’m attracted to and weave them into something of my own.”
Jim Jarmusch, 20001

Two Japanese teens, red suitcase hung between them, dressed in, respectively, punk and Beat attire, are walking down Chaucer Street on their way to Sun Records. For anyone reading this volume, this image is, most likely, immediately recognizable as a key frame from Mystery Train. Residents of Memphis, Tennessee, the film’s setting, however, might find it perplexing given the fact that there is no actual Chaucer Street in Memphis2. While Chaucer has obvious structural relevance for the film – both narratives are short stories centered around a specific locus – Jarmusch chalks it up to simple preference: “I was thinking about literary forms and I was very interested in Chaucer”, and “there are a lot of streets in Memphis named after poets. Quite a few. Chaucer wasn’t one of them, though”3. Similarly, in 1984’s Stranger Than Paradise, Willie (portrayed by John Lurie) asks his fri...

Auteur

Tisch School of the Arts, New York

Le texte et les autres éléments (illustrations, fichiers annexes importés) sont sous Licence OpenEdition Books, sauf mention contraire.

Acheter

Rechercher dans OpenEdition Search

Vous allez être redirigé vers OpenEdition Search