Dialogic representations of the outsider in Jim Jarmusch's Cinema
A reading of the films Strangers in Paradise, Ghost Dog and Paterson
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This book takes as its object the cinema of Jim Jarmusch, with emphasis on the films Strangers in Paradise (1984), Ghost dog (1999), and Paterson (2016). Our analytical category is that of the character, and we focus primarily on fictional outsider entities. In the cinema of this audiovisual director, not only does the massive presence of outsiders occur, rather, we argue that the dialogic interaction between "diverse" guides both the narrative and the mise-en-scène of the various films, acquiring a structural role. Through an interdisciplinary approach, we approach the representations of the...
This book takes as its object the cinema of Jim Jarmusch, with emphasis on the films Strangers in Paradise (1984), Ghost dog (1999), and Paterson (2016). Our analytical category is that of the character, and we focus primarily on fictional outsider entities. In the cinema of this audiovisual director, not only does the massive presence of outsiders occur, rather, we argue that the dialogic interaction between "diverse" guides both the narrative and the mise-en-scène of the various films, acquiring a structural role. Through an interdisciplinary approach, we approach the representations of the outsider in Jarmusch's cinema, whose filmic work is rich in terms of "diversity", which allows us to propose a systematization of the submodalities of the outsider, where, among other things, we can verify approximations between outsider and rogue, outsider and rascal, outsider and beatnik, and also, outsider and poet. It is noticeable that the outsider permeates all the filmmaker's work, inits multiple aspects and nuances, since the representation is meticulously heterogeneous. This outsider goes beyond the ordinary media representations, and goes far beyond the filmic works based on clichés about marginality and rebellion, with or without a cause.