- Taschenbuch: 217 Seiten
- Verlag: University Press of Mississippi; Auflage: abridged edition (26. November 2001)
- Sprache: Englisch
- ISBN-10: 1578063795
- ISBN-13: 978-1578063796
- Größe und/oder Gewicht: 22,8 x 15 x 1,7 cm
- Amazon Bestseller-Rang: Nr. 141.792 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Jarmusch may not be the most commercially successful or artistically acclaimed of the American independent filmmakers who surfaced in the early '80s, but he may have the most integrity of any of them. He is the only one who has consistently insisted upon retaining the right of final cut, and he owns the negatives of all his films. Whereas his young protagonists tend to be laconic--from the protoslackers of his breakthrough feature, Stranger Than Paradise, to the central figure of his Kafkaesque western, Dead Man (arguably the most underrated film of the '90s), and the urban samurai of Ghost Dog--Jarmusch comes across in these 17 interviews as thoughtful and articulate. Strongly influenced by European and Asian directors, he often works with foreign collaborators and gets much of his financing overseas. His films, however, with their iconoclastic outlook, individualistic heroes, and affinity for pop culture, are quintessentially American. Gordon Flagg
Copyright © American Library Association. All rights reserved -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Copyright © American Library Association. All rights reserved -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Kurzbeschreibung
As the interviews (reprinted verbatim) in this volume reveal, Jarmusch has always been interested in mixing sharply opposing cultural ingredients to form something uncategorizably new in films that transcend boundaries between high and low culture. Ranging from 1981 to 2000, these interviews chronicle the oeuvre of an acutely independent filmmaker. Jarmusch discusses actors with whom he has worked (Johnny Depp, Forest, Whitaker, and Roberto Benigni among them), the development of his camera and editing techniques, his fascination with the co-existence of disparate cultures, and his cult status as an indie.
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Einleitungssatz
THE TEXT IS COMPILED from interviews that Ralph Eue and Wolfgang Stukenbrock did with Jim Jarmusch on October 10, 1980, during the 29th Filmwoche in Mannheim, and on February 22, 1981, during the 11th International Forum for Young Film in Berlin. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
THE TEXT IS COMPILED from interviews that Ralph Eue and Wolfgang Stukenbrock did with Jim Jarmusch on October 10, 1980, during the 29th Filmwoche in Mannheim, and on February 22, 1981, during the 11th International Forum for Young Film in Berlin. Lesen Sie die erste Seite
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A True Visionary
3. Februar 2002
Format:Taschenbuch
"I consider myself a minor poet who write fairly small poems. I'd rather make a movie about a guy walking his dog than about the emperor of China."- Jim Jarmusch
Over the last few years, University Press of Mississippi has released several book under their "Conversations with Filmakers Series." Past directors in the series have included Martin Scorsese, Bernardo Bertolucci, Jean-Luc Godard, and Quentin Tarantino. I've read just about all of them, and I have to say this one, about American independent film director Jim Jarmusch, is one of my favorites.
The book consists of seventeen interviews of Jarmusch ranging from 1981 to 2000. During that time, Jarmusch has released independent classics starting with Stranger In Paradise(1984), Down By Law(staring a young Robert Benigni-1986), Mystery Train(1989), Dead Man(1995), and Ghost Dog:Way of the Samurai(1999).
These series of interviews reveal some of the meaning and influences that helped shape those films.
For those who might not know, Jarmusch is not only a brillaint director but he is also a facinating conversationalist. In the interviews, he describes his backgroung starting in Akron, Ohio and his early college years studying abroad in Paris, France. As an "outsider" studying in a foreign country, Jarmusch was never able to forget that feeling, and you can tell that when you watch his movies.
What's fascinating about Jarmusch is his mixing of "high' and "low" cultures which permeates his films. In the interviews, he admits being obsessed with the Japanese director Ozu and, at the same time, being influenced by the TV show "The Honeymooners."
I've been waiting for years on a biography about Jarmusch. Although this not a biography(or autobiography or that matter),
it is an excellent introduction this director's life and work. I recommend it to not only Jarmusch nuts, but to anybody who interested in American Independent movies.
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Great filmmaker but an okay book.
17. Januar 2009
Format:Taschenbuch
If you read the first chapter, you will know everything you need to know about the rest of the book. The interviews are all the same and so are the answers. I got bored with the monotony so I never finished the book.
One good thing about the book is that you get to know Jim Jarmusch ideas and concept behind his films, a good reason to get the book if you are an admirers of his films like myself.
One good thing about the book is that you get to know Jim Jarmusch ideas and concept behind his films, a good reason to get the book if you are an admirers of his films like myself.
1 von 1 Kunden fanden die folgende Rezension hilfreich
As simple as his films
4. Juli 2008
Format:Taschenbuch|Von Amazon bestätigter Kauf
I found two volumes of this "Conversations With Filmmakers Series" at a university library in Japan, and as soon as I could, I bought both for my personal library: Jim Jarmusch and Peter Greenaway. The reason: I think that, if you do a map of contemporary filmmaking, the North Pole and the South Pole would be these two gentlemen. Everything else is somewhere in between. I don't know if any of these two directors is actually so clear, so witty and so self aware, or if it is just good editing work, but very few times you'll find books of film criticism to be so insightful, so revealing and yet, so simple. I know this sounds vulgar, but I'd give up stuff like Film Semiotics if only the University Press of Mississippi had published more books of these series. I just ordered a third book: Akira Kurosawa.
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