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Arbitrary Reality: The Global Art Cinema of Jim Jarmusch
dc.contributor.advisor | Berg, Chuck | |
dc.contributor.author | Lackey, Eric | |
dc.date.accessioned | 2013-02-17T20:28:54Z | |
dc.date.available | 2013-02-17T20:28:54Z | |
dc.date.issued | 2012-12-31 | |
dc.date.submitted | 2012 | |
dc.identifier.other | http://dissertations.umi.com/ku:12417 | |
dc.identifier.uri | http://hdl.handle.net/1808/10864 | |
dc.description.abstract | The cinema of American filmmaker Jim Jarmusch resists many attempts at categorization. This thesis examines Jarmusch's cinema within the context of both American independent cinema studies and global art cinema studies. This is accomplished by considering Jarmusch's independent cinema as an intersection between the two areas and by linking the global to the singular case of Jarmusch. The periodization of this study is between 1980 and 2009 when Jarmusch's feature film production illustrates a conscious engagement with global art cinema. The details of how his films were financed, exhibited, and distributed, and the development of the contemporary American independent cinema scene during this time, help to establish both Jarmusch's independence and his alignment with global art cinema. The industrial framework Jarmusch established provides an economic structure that sustains his work to the present. Textual analysis of the films Dead Man (1995), Ghost Dog: The Way of the Samurai (2000), Broken Flowers (2005), and The Limits of Control (2009), reveals an approach to mise-en-scene and narrative that corresponds more closely with global art cinema than with most Hollywood films. Further, analysis of the cultural and ideological perspectives represented by these films demonstrates a critical engagement with questions of intercultural interaction and the potential benefits of the transcultural exchange of artistic production. By looking at the particular case of Jarmusch, this study addresses both the strengths and limitations of broad categories, such as American independent cinema and global art cinema, recognized and discussed by scholars, filmmakers, and general audiences, for understanding an individual filmmaker. | |
dc.format.extent | 92 pages | |
dc.language.iso | en | |
dc.publisher | University of Kansas | |
dc.rights | This item is protected by copyright and unless otherwise specified the copyright of this thesis/dissertation is held by the author. | |
dc.subject | Film studies | |
dc.subject | Art cinema | |
dc.subject | Independent film | |
dc.subject | Jarmusch, Jim | |
dc.title | Arbitrary Reality: The Global Art Cinema of Jim Jarmusch | |
dc.type | Thesis | |
dc.contributor.cmtemember | Preston, Catherine | |
dc.contributor.cmtemember | Willmott, Kevin | |
dc.thesis.degreeDiscipline | Film & Media Studies | |
dc.thesis.degreeLevel | M.A. | |
kusw.oastatus | na | |
kusw.oapolicy | This item does not meet KU Open Access policy criteria. | |
kusw.bibid | 8085666 | |
dc.rights.accessrights | openAccess |
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School of the Arts Dissertations and Theses [143]
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Theses [4088]