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Les Variations Jarmusch

Esther Heboyan

Partie V. Cadences jarmuschiennes sur l’échiquier de l’espace-temps / Jarmuschian cadences on the chessboard of time and space

Jim Jarmusch as meta-narrative master

Fátima Chinita

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“Jim Jarmusch, the master of ‘cool’?”

In Celluloid Mavericks Greg Merritt claims that “In the eighties, Jim Jarmusch carved out his own ultracool cinematic nook with small stories set in the South. In the nineties, he expanded his environment”1. I intend to articulate these two assertions in one single argument regarding self-reflexive narrative as evidence of authorial style.

Jim Jarmusch is generally considered one of the most important film directors of the American indie scene of the eighties and nineties2. However, of all the artists who followed in the footsteps of John Cassavetes none has so widely and largely been described as “cool” as Jarmusch3. Other synonyms include hipster, alien, idiosyncratic, weird, uncanny. The word “cool” points to an obstinate independence from the mainstream and the Hollywood film formulas, a weird singularity perceived as a different sensibility, the defense of pop culture, the incorporation of foreign influences, original camerawork and mise-en-s...

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