Carpe Diem in Black and White: Jim Jarmusch's Broken Flowers

Camelia Elias

    Publikation: Working paperForskning

    Resumé

    This essay looks at Jim Jarmusch's latest film Broken Flowers. As the tile indicates there is breakage in the narrative of an aging Don Juan who upon receiving an anonymous letter that informs him of his having a son he never knew he had embarks on a quest journey that takes him visiting old flames. The narrative draws heavily on the myth of Don Juan, who after having scored a host of women has to pay for his sins. But while the narrative also draws on all sorts of other representations of Don Juanism, from biblical intertextual references to Mozart's Don Giovanni, and thus relies on a plot development that follows a traditional linear trajectory that has sin and fall in focus, in Jarmusch's rendition the story ends with an open and undecided scene. This paper argues, however, that while Jarmusch makes recourse to all the elements of aesthetic fragmentation, he embeds a moral tale within the film which clashes with the poetics of the fragment as such.
    OriginalsprogEngelsk
    Udgivelses stedwww
    UdgiverAmerica Adrift: Transatlantic perspectives on America
    Antal sider12
    StatusUdgivet - 2008

    Emneord

      Citer dette

      Elias, C. (2008). Carpe Diem in Black and White: Jim Jarmusch's Broken Flowers. www: America Adrift: Transatlantic perspectives on America.
      Elias, Camelia. / Carpe Diem in Black and White : Jim Jarmusch's Broken Flowers. www : America Adrift: Transatlantic perspectives on America, 2008.
      @techreport{9ca87210865511dd8cd1000ea68e967b,
      title = "Carpe Diem in Black and White: Jim Jarmusch's Broken Flowers",
      abstract = "This essay looks at Jim Jarmusch's latest film Broken Flowers. As the tile indicates there is breakage in the narrative of an aging Don Juan who upon receiving an anonymous letter that informs him of his having a son he never knew he had embarks on a quest journey that takes him visiting old flames. The narrative draws heavily on the myth of Don Juan, who after having scored a host of women has to pay for his sins. But while the narrative also draws on all sorts of other representations of Don Juanism, from biblical intertextual references to Mozart's Don Giovanni, and thus relies on a plot development that follows a traditional linear trajectory that has sin and fall in focus, in Jarmusch's rendition the story ends with an open and undecided scene. This paper argues, however, that while Jarmusch makes recourse to all the elements of aesthetic fragmentation, he embeds a moral tale within the film which clashes with the poetics of the fragment as such.",
      keywords = "Jim Jarmusch, film, fragment, Russian formalists",
      author = "Camelia Elias",
      year = "2008",
      language = "English",
      publisher = "America Adrift: Transatlantic perspectives on America",
      type = "WorkingPaper",
      institution = "America Adrift: Transatlantic perspectives on America",

      }

      Elias, C 2008 'Carpe Diem in Black and White: Jim Jarmusch's Broken Flowers' America Adrift: Transatlantic perspectives on America, www.

      Carpe Diem in Black and White : Jim Jarmusch's Broken Flowers. / Elias, Camelia.

      www : America Adrift: Transatlantic perspectives on America, 2008.

      Publikation: Working paperForskning

      TY - UNPB

      T1 - Carpe Diem in Black and White

      T2 - Jim Jarmusch's Broken Flowers

      AU - Elias, Camelia

      PY - 2008

      Y1 - 2008

      N2 - This essay looks at Jim Jarmusch's latest film Broken Flowers. As the tile indicates there is breakage in the narrative of an aging Don Juan who upon receiving an anonymous letter that informs him of his having a son he never knew he had embarks on a quest journey that takes him visiting old flames. The narrative draws heavily on the myth of Don Juan, who after having scored a host of women has to pay for his sins. But while the narrative also draws on all sorts of other representations of Don Juanism, from biblical intertextual references to Mozart's Don Giovanni, and thus relies on a plot development that follows a traditional linear trajectory that has sin and fall in focus, in Jarmusch's rendition the story ends with an open and undecided scene. This paper argues, however, that while Jarmusch makes recourse to all the elements of aesthetic fragmentation, he embeds a moral tale within the film which clashes with the poetics of the fragment as such.

      AB - This essay looks at Jim Jarmusch's latest film Broken Flowers. As the tile indicates there is breakage in the narrative of an aging Don Juan who upon receiving an anonymous letter that informs him of his having a son he never knew he had embarks on a quest journey that takes him visiting old flames. The narrative draws heavily on the myth of Don Juan, who after having scored a host of women has to pay for his sins. But while the narrative also draws on all sorts of other representations of Don Juanism, from biblical intertextual references to Mozart's Don Giovanni, and thus relies on a plot development that follows a traditional linear trajectory that has sin and fall in focus, in Jarmusch's rendition the story ends with an open and undecided scene. This paper argues, however, that while Jarmusch makes recourse to all the elements of aesthetic fragmentation, he embeds a moral tale within the film which clashes with the poetics of the fragment as such.

      KW - Jim Jarmusch

      KW - film

      KW - fragment

      KW - Russian formalists

      M3 - Working paper

      BT - Carpe Diem in Black and White

      PB - America Adrift: Transatlantic perspectives on America

      CY - www

      ER -

      Elias C. Carpe Diem in Black and White: Jim Jarmusch's Broken Flowers. www: America Adrift: Transatlantic perspectives on America. 2008.