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architectnews · 4 years ago

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Dezeen's top 10 most talked-about stories of 2020

This year had its fair share of provocative stories, from Donald Trump drafting new legislation on federal buildings to Bjarke Ingels plotting to redesign Earth. For our review of 2020, digital editor Karen Anderson looks at 10 of the most talked about.

Harikrishnan's inflatable latex trousers create "anatomically impossible" proportions

Readers debated our coverage of menswear designer Harikrishnan's billowing latex trousers, which were created for his graduate collection at the London College of Fashion.

"I really like the pear shape of the white pants," praised Rose Winkler. "I picture them with the same shaped arms on a stage. They feel very medieval. Reminds me of Popeye when he eats his spinach."

"Absolutely love the concept!" added Karen Thomas. "Mad technical skills have gone into creating such art. Especially the time invested in getting those beautiful beads made. Curious to see what's next!"

Find out more about the inflatable latex trousers ›

AIA opposes President Trump's draft rules for Making Federal Buildings Beautiful Again

One of the biggest stories this year was news that the Trump Administration planned to introduce an order that all federal buildings should be built in the "classical architectural style".

In response to the draft order, called Making Federal Buildings Beautiful Again, the American Institute of Architects called on members to sign an open letter petitioning against it. The story on Dezeen attracted more than 323 comments.

"Does this sound familiar? Hitler did that." said Pam Weston. "Similar in aesthetics too. Is anyone besides me scared yet?"

"What's the big deal here?" asked Elrune The Third. "This classical style is part of the national identity and design language of the USA. No one will die because Studio BIG doesn't win the next contract for a courthouse."

Find out more about the opposition to Trump's draft order ›

Zaha Hadid Architects and Grimshaw among architects to criticise Autodesk's BIM software

The story that received the second most comments this year was news that Zaha Hadid Architects and Grimshaw were two of 17 architecture studios to sign an open letter to software company Autodesk, criticising the rising cost and lack of development of Revit.

The president and CEO of Autodesk responded to criticisms of its software, admitting improvements "didn't progress as quickly" as they should have but rejecting claims it is too expensive.

Readers weren't convinced. It's "like charging 2020 prices for a Cadillac on a 2005 Ford Focus," said UTF.

"This software is bad," agreed Michal C. "My life got way shorter thanks to constantly fighting its limits and bad design. Using it in building design is like doing brain surgery using two bricks as the only tools."

Find out more about criticism of Autodesk ›

Masterplanet is Bjarke Ingels' plan to redesign Earth and stop climate change

In October, commenters furiously debated news that BIG founder Bjarke Ingels is creating a masterplan for redesigning Earth.

Approaching Earth like an architect master planning a city, Ingels calculates that even a predicted population of 10 billion people could enjoy a high quality of life if environmental issues were tackled holistically.

But some readers struggled to take Ingels seriously. "Please wake me up when BIG reveals a plan to redesign human behaviour," said Chris Becket.

Don Griffiths was more optimistic: "Lots of good things come from dreaming and scheming outside the box. This man might not have all the answers, but the future is better attended to by the actions of thinkers from the past."

Find out more about Ingels' plan to redesign Earth ›

Coronavirus offers "a blank page for a new beginning" says Li Edelkoort

Some readers reacted with cynicism to Li Edelkoort's predictions for a post-coronavirus future.

Edelkoort described how the disruption caused by coronavirus will lead people to grow used to living with fewer possessions and travelling less.

"How many times has history shown that's not how this works?" responded Rd. "Things will just go back to normal and change will happen slowly over time."

Others found the article comforting. "I take a lot of solace in what Li Edelkoort is saying," said Gerard McGuickin. "In a way, the Coronavirus is perhaps a reckoning for things that have gone before."

Ukrainian architect Sergey Makhno also shared his predictions on how our homes will change once the coronavirus pandemic is over whilst Airbnb co-founder Brian Chesky shared his thoughts on how the coronavirus pandemic is likely to change travel.

Find out more about Edelkoort's coronavirus predictions ›

Steel and concrete steps cut through facade of Stairway House by Nendo

Opinions were divided over Japanese design studio Nendo's unusual addition to a multigeneration house in Tokyo – a giant decorative staircase dividing the house in two.

Some felt that the sculptural stairway was too much of a health and safety risk. "I can't imagine living there with a kids," worried Salamoon.

And Room advised people to live a little more dangerously. "If everyone here wants a run-of-the-mill cosy little cottage or bungalow or timber-framed three-bedroom suburban potted plant safety palace, why are you reading this magazine?" they quipped.

Cliff Tan weighed in with some important cultural context. "This is really obvious if you are East Asian," said Tan. "In Feng Shui terms, this site, sitting at the top of a long road, invites too much energy into the site," he added. "The staircase takes all this energy and swoops it towards the sky, keeping the rest of the home calm and protected."

Find out more about Stairway House ›

Bjarke Ingels meets Brazil's president Jair Bolsonaro to "change the face of tourism in Brazil"

Bjarke Ingels previously made headlines when the architect met with the president of Brazil Jair Bolsonaro to discuss developing a tourism masterplan for the northeast region of the country.

"Glad to still see starchitect clamouring to work with corrupt governments," said WYRIWYG. "As long as the fees are high enough..."

"Yeah, because a Danish architect knows exactly how to deal with beaches and the social background of our country," added Edson Maruyama. "We have great architects and urbanists in the country.

Ingels released a statement defending his decision and rejecting the idea that countries such as Brazil should be off-limits to architects.

Find out more about Ingels meeting Jair Bolsonaro ›

Eva Franch i Gilabert fired as AA director for "specific failures of performance"

Another controversial story in 2020 was news that Architectural Association (AA) director Eva Franch i Gilabert was fired.

The decision was taken by the London school two weeks after Gilabert lost a vote of no confidence in her leadership.

"Eva absolutely deserved an opportunity to lead," said AA Dipl. "AA is a testbed for creative ideas and methodologies and sometimes an experiment doesn't prove successful. Yet AA is the only place where one can try and fail and we should admire the school for that reason. "

Hotel Sphinx also commented: "Surely those of us outside the AA community cannot truly understand what has transpired over the past two years, culminating in this decision."

Find out more about Gilabert's dismissal ›

Groupwork designs 30-storey stone skyscraper

Amin Taha's architecture studio Groupwork attracted attention when it designed a conceptual 30-storey stone office block.

The studio said the building would be cheaper and more sustainable than concrete or steel equivalent, but some readers thought it was dull.

"The discussion is all about the material and nothing about the boring design," said Egad.

"I'd rather call it straightforward rather than boring," replied K Anderson. "It's an elegant and well-proportioned tower while taking advantage of the material's natural qualities and production process. Gold doesn't have to glitter.

Taha himself responded in the comments section, saying: "The tower is a simple, sober, yes boring design for the purpose of comparing like for like against standard commercial offices. It is after all only a material, not a style."

Find out more about Groupwork's stone skyscraper ›

Urban planning is "really very biased against women" says Caroline Criado Perez

British writer Caroline Criado Perez wrote a book claiming that cities haven't been designed to suit the lives of women, sparking debate amongst readers.

"I agree with this completely," said Sim. "Last week the design for the longest cycling bridge in Europe was revealed. While it was hailed a triumph, as a woman all I could think of were the evenings I would be cycling home alone and the idea of this bridge scared me."

"Come on!" replied Architecte Urbaniste. "This whole man versus woman urban design discussion is missing the point. Most architecture is designed by teams of people containing both men and women. I've seen groups of women designing completely unliveable urbanism too."

Find out more about Perez's book ›

Read more Dezeen comments

Dezeen is the world's most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page.

The post Dezeen's top 10 most talked-about stories of 2020 appeared first on Dezeen.

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qubemagazine · 5 years ago

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New Post has been published on Qube Magazine

New Post has been published on https://www.qubeonline.co.uk/new-visualisation-vr-ar-innovations-to-be-showcased/

New visualisation, VR & AR innovations to be showcased

NEWS FEATURES FIRE & SECURITY SUBMISSIONS RESOURCES

From the latest software integrating BIM with virtual reality headsets, to hand-held augmented reality systems for visualising designs on-site, exhibitors are preparing to show off the latest in visualisation, virtual reality (VR) and augmented reality (AR) tech for the built environment at Digital Construction Week.

Taking place on 16-17 October at London ExCeL, it’s set to be a showcase of some seriously impressive products revolutionising the construction industry. Here’s a preview of just some of the new innovations that will be on display:

KOREC is introducing Trimble SiteVision, a high-accuracy augmented reality system that can be held in the hand. Users can visualise geospatial data, such as new designs and underground utilities, in the field. Walk around the model and view from various perspectives or click on the model for attribute information.

Fulcro is announcing the FULmax and Revizto partnership to deliver Digital Collaboration for teams using Immersive VR at the show. Visitors will have the opportunity to explore the benefits that can be realised using Revizto and FULmax together: to aid their team’s project engagement, design reviews and defect tracking, while standing inside live project data at life-size.

Fuzor is exhibiting a next generation VDC tool offering solutions for design review, design analysis, BIM validation, real-time collaboration, stunning 4D output, 5D with VR and AR support. Fuzor 2020 is designed to help AEC professionals to stay competitive, reduce cost, improve safety and win more business.

Vectorworks UK is promoting Vectorworks Architect 2020, a leading modelling, drafting and documentation solution from sketch to BIM. New developments include Live Data Visualisation, Walkthrough Animations, enhancements to the data tag tool and model sectioning for documentation, as well as a Vectorworks Graphics Module that offers faster file navigation and more responsive models.

Plus many more …

To see the full programme for the Visualisation Theatre please visit www.digitalconstructionweek.com/visualisation.

New visualisation, VR & AR innovations to be showcased

NEWS FEATURES FIRE & SECURITY SUBMISSIONS RESOURCES

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planningapplication · 5 years ago

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Architectural BIM Services - 3D Revit Design Modeling

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Extension Architectural Services London takes aid of the upgraded software like Revit Building, ADT and ArchiCAD. Right from consultant engineers to real estate developers, we serve all with equal dedication.

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The benefits of the BIM Services and the 3D modeling are discussed as follows:

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s0021858a2film · 7 years ago

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Post U. Creative Investigation Final Draft

Creative Investigation

This essay will focus on director Jim Jarmusch, an American independent filmmaker whose vast catalogue of films have been influential to the development of cinema as an art form and has inspired a myriad of artists. Journalist Peter Keogh outlines Jarmusch’s influence in an interview, stating to the director that ‘Since ‘Stranger Than Paradise’ your sensibility and style seem to be dominant in American independent film-making, and also in film-making around the world’. (Keogh, 1992). Despite Jarmusch’s critical acclaim he has not achieved the commercial acclaim he arguably deserves. His subversion of mainstream cinema in his films, such as in the vignette based Coffee and Cigarettes (2003), the culturally underground Stranger Than Paradise (1984), and the unconventional vampire genre piece Only Lovers Left Alive (2014), have led the way in countercultural filmmaking. Richard Dyer outlined the aspects of art films; they are edifying, elitist, refined and difficult to understand (Dyer, 1992). It’s Jarmusch’s sensibility as an artist and an auteur which has led to this overshadowing of critical acclaim over commercial acclaim.

Auteur theory was first introduced, by the Cahiers de Cinema critics such as Andre Bazin and Alexandra Astruc, as a way to distinguish the filmmaker as an author/auteur. French filmmaker Francois Truffaut coined the term ‘’la politique des auteurs’’ in ‘Une Certaine Tendance du Cinema Francais’, arguing that auteurs have a distinctive style established by consistent themes and ideas. The theory has been adopted by many critics, including American Andrew Sarris who, in Notes on Auteur Theory in 1962, established three circular premises of auteur theory: ‘the outer circle as technique; the middle circle, personal style; and the inner circle, interior meaning’ (Sarris, Keith Grant, 2008) .

Aims of Research

In this essay I will attempt to answer whether Jarmusch can claim full authorship of his films based on the research I have conducted. The subtopics I will look at are distinguishable style, consistent themes and the influence of collaborators. I will use auteur theory, mainly Andrew Sarris’ premises of auteur theory, and analysis of Jarmusch’s filmography to explore Jarmusch’s claim to authorship.

Annotated primary Sources

Stranger Than Paradise. (1984). [film] Directed by J. Jarmusch. USA: Cinesthesia Productions, Grokenberger Film Produktion, Zweites Deutsches Fernsehen (ZDF). Stranger than paradise is Jarmusch first substantial film and received mass critical acclaim, winning the Camera D’Or at the 1984 Cannes film festival. The film is an exploration of three bohemian character’s lives. Some of Jarmusch’s signature stylistic techniques emerge in this early film.

Coffee and Cigarettes. (2003). [film] Directed by J. Jarmusch. USA: Asmik Ace Entertainment, BIM Distribuzione, Smokescreen Inc. Coffee and Cigarettes is a film consisting of a series of vignettes with the thematic device of Coffee and Cigarettes in common. The film includes actors and musicians playing semi-autobiographical versions of themselves.

Only Lovers Left Alive. (2013). [film] Directed by J. Jarmusch.USA. Recorded Picture Company (RPC), Pandora Filmproduktion, Snow Wolf Produktion. Only Lovers Left Alive is one of Jarmusch’s most recent films. It is described by Jarmusch as a ‘crypto-vampire love story’.

Broken Flowers. (2005). [film] Directed by J. Jarmusch. USA: Focus Features, Five Roses, Bac Films.

Permanent Vacation. (1980). [film] Directed by J. Jarmusch. USA: Cinesthesia Productions.

Down By Law. (1986). [film] Directed by J. Jarmusch. USA: Black Snake, Grokenberger Film Produktion, Island Pictures.

Annotated Secondary Sources

Pinkerton, N. (2014). Interview: Jim Jarmusch. Sight and Sound, (Volume 24 Issue 3), pp.50-56. The article is an interview with Jim Jarmusch about the themes of Only Lovers Left Alive (2014).

Hattenstone, S. (2004). A Talk On The Wild Side. The Guardian Website. [online] Available at: https://www.theguardian.com/film/2004/nov/13/features.weekend[Accessed 1 Oct. 2017]. The article is an interview with Jim Jarmusch.

A, G. (1999). Guardian Interviews at the BFI. The Guardian Website, [online] pp.1-4. Available at: https://www.theguardian.com/film/series/guardian-interviews-at-the-bfi?page=8 [Accessed 1 Oct. 2017]. A series of interviews with Jarmusch about his early work and career.

Evans, G. (2017). All About Jim Jarmusch’s Leading Men. BFI Website. [online] Available at: http://www.bfi.org.uk/news-opinion/news-bfi/lists/jim-jarmusch-leading-actors-tom-waits-bill-murray [Accessed 11 Oct. 2017]. The article overviews Jarmusch’s leading men, giving insight into Jarmusch’s collaborations with his actors.

Andrew, G. (2015). Why ‘cool’ doesn’t do Jim Jarmusch justice. BFI Website. [online] Available at: http://www.bfi.org.uk/news-opinion/news-bfi/features/why-cool-doesnt-jim-jarmusch-justice [Accessed 12 Oct. 2017]. Exploring the description of Jim Jarmusch and his movies using the affectation ‘cool’.

Keogh, P. (2017) Jim Jarmusch: Home and Away. (2017). Sight and Sound, (4), pp.8-9. “Jim Jarmusch talks with Peter Keogh about actors, filmic style and classical story-telling’’

Keogh, P. (2014). Jim Jarmusch: How the film world’s maverick stayed true to his roots. Sight and Sound. [online] Available at: https://www.theguardian.com/film/2014/feb/22/jim-jarmusch-only-lovers-left-alive [Accessed 16 Oct. 2017].

Jim Jarmusch: Women are my leaders’. (2014). The Guardian Website. [online] Available at: https://www.theguardian.com/film/2014/feb/20/jim-jarmusch-women-leaders-only-lovers-left-alive [Accessed 16 Oct. 2017]. An interview with Jarmusch about Only Lovers Left Alive (2014).

Grant, B. and Sarris, A. (2008). Auteurs and authorship. Oxford: Blackwell, pp.561-564.

Petković, R. and Vuković, K. (2011). Postmodern Philosophy and the Impact of the Other in Jim Jarmusch’s Films. [sic] - a journal of literature, culture and literary translation, (2.1). The Journal looks at Jarmush from a postmodern perspective, focusing mainly on the theme of the Other (Outsiders) in postmodern and Jarmusch films.

Jenny McDonell, J. (2014). Only Lovers Left Alive. The Irish Journal of Gothic and Horror Studies, 13, pp.127-129.

Glbey, R. (2017). How Jim Jarmusch used music to put a spell on Hollywood. The Guardian Website. [online] Available at: https://www.theguardian.com/music/2017/sep/21/jim-jarmusch-revisited-hollywood-film-soundtracks [Accessed 22 Oct. 2017]. The article is an exploration of music in Jarmusch’s movies, as well as a review of a live concert of Jarmusch’s movies.

Dyer, R. (1992). Only entertainment. London u.a.: Routledge.

Gledhill, C. (1990). Guide to the stars. New York: Routledge.

Wood, R (1977) Ideology, Genre, Auteur. Pp.1.16.18 from Film Comment 13, no. 1 (January-February 1977)

Brooke, M. (2015). A-list meets arthouse: when megastar actors work for auteurs. BFI. [online] Available at: http://www.bfi.org.uk/news-opinion/news-bfi/lists/list-meets-arthouse-when-megastar-actors-work-auteurs [Accessed 28 Jan. 2018].

Does Jarmusch have a recognisable style, which distinguishes his movies as authored by him?

As part of my auteur study of Jim Jarmusch I have analysed the films Stranger than Paradise (1984), Coffee and Cigarettes (2003), and Only Lovers Left Alive (2014). I have analysed the stylistic elements of these movies in order to establish Jarmusch’s signature style, and to establish that this style makes his filmography distinguishable as a Jim Jarmusch film. According to film theorist Andrew Sarris, stylistic characteristics are important to establish a filmmaker as an auteur. A director’s film must be distinguishable and “must exhibit certain recurrent characteristics of style, which serve as his signature” (Grant and Sarris, 2008). Jarmusch’s films definitely have an individual style. They are minimalist, experimental, and reserved, yet also deeply emotional. Jarmusch’s style is his own. As critic Jonathan Romney states, “Jarmusch can’t be easily pinned down to any cinematic wave or category” (Romney, 2014). In every film Jarmusch stamps his personality onto it, through such things as referencing his influences and conveying his ideas through his characters’ subtly philosophical dialogue.

Jarmusch’s signature style came into fruition in his first feature, Stranger Than Paradise (1984). An example of a signature micro technique Jarmusch uses in the film is black and white cinematography. The black and white colours create a sense of similarity between locations, in order to create a feeling that the characters are lost in a country where all locations seem to have a uniform lack of emotion. This can also be seen in the dialogue, such as when Willie remarks “It’s the same Chesterfields, all over America”, and when Eddie states “You know, it’s funny. You come to someplace new, and everything looks just the same”. Jarmusch would go on to use this monochrome filter in his films Down By Law (1986) and Dead Man (1995), other pictures that display outsiders losing themselves in a black and white conformist America. This is a common motif in Jarmusch films and demonstrates how Jarmusch subverts the ideological conventions of genre outlined by Robin Wood (1977). Jarmusch subverts the ideological conventions of American Capitalism, specifically ‘America as the land where everyone is or can be happy’, by presenting the audience with an America of lost outsiders who are searching for the happiness promised to them, and ultimately just finding more of the same.

Jarmusch’s consistency of style can be seen in his collection of vignettes, Coffee and Cigarettes (2003). Jarmusch’s collection all have a standardised technique which creates a consistent style, which stylistically links the vignettes. The vignettes all use the same shots: a wide shot, a two shot, two one shots, and an overhead shot. In terms of shot syntax theses shots are not necessarily in the same order, however they have the same technical use, such as overhead shot being used to edit dialogue and the wide shot establishing the location. The use of this standardised procedure makes the vignettes instantly recognisable as part of the collection.

In Only Lovers Left Alive (2014) Jarmusch explores the vampire genre, however he actively avoids the genre’s stylistic conventions. This can be seen in the film’s final scene, and evidently it’s final shot. Adam and Eve go to attack their victims, and the shot is edited to slow motion as they approach. As they approach, the film’s score, which Jarmusch himself wrote with his band SQURL, is calming, instead of suspenseful. The sound is completely opposite to the generic sounds of horror, Jarmusch uses contrapuntal sound to subvert genre expectations. Finally, as Adam and Eve bare their fangs in order to attack their victims, the shot cuts and the credits roll. The action of the vampire genre comes from the scenes in which they attack their victims, however as this is a Jarmusch movie the focus is not on the action, but the meditative nature of the vampires stalking their prey.

However, there are some critics who would argue that Jarmusch belongs to a group of postmodern American filmmakers, including Quentin Tarantino, The Coen Brothers, Spike Lee and David Lynch. Jarmusch is paired with these postmodern filmmakers as his filmography “presents us with stories that disrupt the clear unified and causal structure of Hollywood films”; and “breakup the generic structures, overthrowing the need for closure, one of the main characteristics of classic Hollywood.” (Petkovic, Vukovic, 2011). This attributes Jarmusch’s style to postmodernism and not his individual personality, disputing the idea that his style stems from his authorship. Countering this critical view, although Jarmusch’s films do have aspects of postmodern filmmaking, his style is too engraved into his individual influences and personality. Referring to Jarmusch’s style as ‘postmodern’ is a tenuous description as it ignores a lot of what is included in his stylistic vocabulary.

Jarmusch’s direction on these three films establish a distinct style that is recognisable and individualistic. Jarmusch’s ‘distinguishable personality’ (Grant and Sarris, 2008) is stamped onto his films through stylistic elements. This adds to the argument for Jarmusch’s authorship, as his films have a distinguishable style that is expressive of his personality, and that the audience can recognise as his.

What are the themes that Jarmusch consistently explores in his films?

Jarmusch’s films are all linked by running themes. These include such themes and motifs as foreign perspectives of American culture, outsiders, underground music, and existential crises. The inclusion of these themes show that Jarmusch is an auteur. Themes create meaning in film, they express the director’s thoughts. They contribute to what Andrew Sarris describes as “interior meaning” (Grant and Sarris, 2008), the director putting personal meaning into the film. A prominent theme that runs through Jarmusch’s movies is outsiders, and in terms of ideology Jarmusch is definitely ‘rooted in opposition to the ideology of the country in which it is produced’ (Wood, 1977). All of Jarmusch’s protagonists are somehow outsiders of their society, critic Simon Hattenstone describes Jarmusch’s characters as tending to be “losers, drifters and strays” (Hattenstone, 2004).

In Stranger Than Paradise (1984), Eva and Willie are outsiders to American society, their Hungarian roots making them inherently outsiders, as they live in a society which is foreign to them. However, instead of portraying this difference of these characters as negative, Jarmusch uses their outsider nature to celebrate individualism. This can be seen when Eva comments on the dress Willie has bought her to help her to conform to American society. In her dialogue Eva remarks “I think it’s kinda ugly, don’t you?” and “I don’t really wear this style”. Eva rejects the American culture as by conforming to it she will lose her ‘style’ and individualism. Through doing this she is rejecting an ideology in which ‘Subversive systems are assimilated wherever possible to serve the dominate ideology’ (Robin Wood, 1977) Compared to Eva, Willie has rejected his Hungarian roots, changing his name to fit in. Yet he is still an outsider and is much more lost than Eva. Willie gives the symbolic prop of the dress to Eva in order for her to join him in conformity, as he is alone. A few scenes before he gives her the dress, Willie is prominently playing solitaire in the foreground of the shot, a lonely game for a lonely character.

In Coffee and Cigarettes (2003) Jarmusch casts a range of counter cultural characters as outsider nicotine and caffeine addicts. Their behaviour is constantly questioned, such as in the piece of dialogue Jarmusch repeats in multiple of his vignettes, “Coffee and Cigarettes, that isn’t a very healthy lunch”. Their behaviour is seen as abnormal to the ‘normal’ character, who usually take the form of waiters such as in the vignettes ‘Renee’ and ‘Twins’.

In Only Lovers Left Alive (2014) the characters are outcasts to the society of the humans, who they refer to as ‘Zombies’. This can be seen in the last scene, where the two ageless lovers look at the young couple with disdain. Swinton’s performance shows how the character of Eve views the couple as something she does not understand. The lovers then decide to use them as a means of survival, literally taking their life from them and using it so they can carry on living as immortal outsiders.

Jarmusch’s characters are outsiders who are not dictated by the rules of their society. This theme is present in all of Jarmusch’s movies, regardless of the genre or concept, Jarmusch is able to make an outsider of any character, be it a bohemian, cigarette smoker, or vampire, and he is able to create meaning with his themes. The inclusion of the outsider, along with a multitude of other identifiable themes, in Jarmusch’s films show how Jarmusch is able to place his personality within the DNA of his films. Sarris claimed that ‘The way a film looks and moves should have some relationship to the way a director thinks and feels’ (Grant and Sarris, 2008), and Jarmusch is able to place the theme of the outsider into his movies possibly in order to reflect his own feelings of being an outsider, as he is himself an independent filmmaker and part of an underground, outsider culture. Jarmusch himself outlines his alienation with American culture and demonstrates his own feelings as an outsider by describing his films as a ‘reaction to things being glossy and quick cut’ (Keogh, 1992). Jarmusch references how his films subvert mainstream American media, and consequently subvert American ideology. Through thematic devices Jarmusch is able to reflect his ideals, his culture, his experiences and even his musical tastes in his films. This helps prove that Jarmusch has full authorship, as his personality is part of his films.

Can Jarmusch be considered the auteur of his films despite his collaborations?

Jarmusch works with a multitude of culturally significant collaborators, such as actors whose individual personalities influence his films. In terms of the argument that Jarmusch’s collaborators partly have a claim to the authorship of his filmography, the actors in his movies are the collaborators with the largest influence over his films. Jarmusch’s films are heavily dependent on the characters and subsequently the actors who play them. Although Jarmusch creates the characters and writes the dialogues, actors often improvise their lines. In relation to Star Theory (Gledhill,1990) Jarmusch is also aided by his actor’s star power, he usually casts recognisable actors with existing acclaim and fan bases. This in turn contributes to the success of his movies as audience can expected high quality performances from Jarmusch’s films. Jarmusch himself describes the influence of his actors, stating “Usually I write for specific actors and have an idea of a character. I want to collaborate with them on. The story is suggested by those characters.” (Keogh, 1992)

Meaning in Stranger Than Paradise (1984) is mainly shaped by Willie and his interactions with American culture, Eva and Eddie. Willie is played by John Lurie, a Jazz musician who also wrote the score for the film. A lot of the film’s droning feel relies on the score, often faded into in the cuts to black in between scenes and is abruptly stopped before the next cut. Lurie also appears in Jarmusch’s films that preceded Stranger Than Paradise (1984), Permanent Vacation (1980), and the film that proceeded it, Down By Law (1986).

In Coffee and Cigarettes (2003) the actors often play fictionalised versions of themselves, the characters are based on exaggerated versions of the actors’ personality. This adds to the collection’s meaning as a lot of the humour relies on the context of the actors, such as the ridiculousness of actor Bill Murray drinking too much coffee and going off the grid in ‘Delirium’. Improvisation was used frequently in the vignettes with these actors as they were practically playing themselves, and the use of the overhead shot allows Jarmusch to then edit the dialogue to fit with the improvisation. Murray in his later career has been known for making critically acclaimed independent films, such as Lost in Translation (2003) and Jarmusch’s film Broken Flowers (2005), at which point critic Michael brook points out ‘he was by far the biggest star to appear in a Jarmusch film’ (Michael Brooke,2015). Murray’s association with successful independent films may contribute to the success of the Jarmusch films he stars in as he has ‘Capital Value’ (Gledhill, 1990) in relation to independent films.

In Only Lovers Left Alive (2014), the film is heavily reliant on the two lead’s performances, and a lot of the films meaning comes from these performances. Hiddleston and Swinton’s performances influence the film immensely. A lot of meaning is created in the film by the contrast between the characters of Adam and Eve. The effect of the actors’ performances is apparent in their body language, in the final scene the actors lean on each other as they are dying together, reflecting how they both rely on each other. Their ability to create meaning through performance shows their strong influence over the film. Both actors are big names who have had multiple acclaimed performances. This may have influenced the success of the movie as audience members will have had positive expectations in relation to the performances in the film.

Jarmusch’s movies often rely on the context, performance and personality of the actors. This means that the actors have some claim to authorship as they have noticeable influence over the film. Furthermore, due to the statuses of Jarmusch’s actors, they have influence as they are able to use their ‘capital value’ (Gledhill, 1990) as culturally significant and critically acclaimed actors to contribute to the success of Jarmusch’s movies.

Collaborations are an integral part of Jarmusch’s filmography and are a convincing counterargument to him being the ‘true author’. However, aside from argument of the strong influence of actors, Jarmusch does seem to have control over the other aspects of his filmmaking. A notable aspect is writing, Jarmusch writes all of his movies. This gives him a stronger claim to authorship as he is able to create a world within the script and then transfer it to the medium of film, overseeing the process the entire way. Furthermore parts of star theory (Gledhill, 1990) could be considered irrelevant in relation to arguing against Jarmusch’s authorship, for example ‘capital value’ only contributing to the success of a film and not the actual content of the film. Film is claimed to be a collaborative medium, but Jarmusch has such control over his films that authorship could not be claimed by anyone else.

Evaluation of Research

I think I have found sufficient evidence to support the claim that Jim Jarmusch is the Auteur of his films. Jarmusch is able to successfully fulfil all three premises of Sarris’ auteur theory: ‘technique’, ‘personal style’, and ‘interior meaning’. Looking at Jarmusch through this theoretical perspective made the arguments for and against Jarmusch’s authorship much clearer, and if I was to revise my research I would focus more on theoretical perspectives as they were essential in evaluating my analysis of Jarmusch’s work. In terms of my research I think I found a lot of evidence, just through evaluating critical perspectives of Jarmusch’s career alone I was able create a vivid picture of Jarmusch’s authorship. However, I could have used more theoretical perspectives as these proved the most useful in evaluating my analysis of Jarmusch’s work. I think the three focal films I focused on were appropriated as allowed me to analyse Jarmusch’s work across stages of his career, with the chronology of each films release being 1984, 2003, and 2014. Coffee and Cigarettes (2003) was the focal film I found most useful due to the fact that each vignette was filmed at different stages of Jarmusch’s career, allowing me to view which elements of his style had changed and which elements were consistent throughout his work.

Unannotated Sources

1. Stranger Than Paradise. (1984). [film] Directed by J. Jarmusch. USA: Cinesthesia Productions, Grokenberger Film Produktion, Zweites Deutsches Fernsehen (ZDF).

2. Coffee and Cigarettes. (2003). [film] Directed by J. Jarmusch. USA: Asmik Ace Entertainment, BIM Distribuzione, Smokescreen Inc.

3. Only Lovers Left Alive. (2013). [film] Directed by J. Jarmusch.USA. Recorded Picture Company (RPC), Pandora Filmproduktion, Snow Wolf Produktion.

4. Pinkerton, N. (2014). Interview: Jim Jarmusch. Sight and Sound, (Volume 24 Issue 3), pp.50-56.

5. Hattenstone, S. (2004). A Talk On The Wild Side. The Guardian Website. [online] Available at: https://www.theguardian.com/film/2004/nov/13/features.weekend[Accessed 1 Oct. 2017].

6. A, G. (1999). Guardian Interviews at the BFI. The Guardian Website, [online] pp.1-4. Available at: https://www.theguardian.com/film/series/guardian-interviews-at-the-bfi?page=8 [Accessed 1 Oct. 2017].

7. Evans, G. (2017). All About Jim Jarmusch’s Leading Men. BFI Website. [online] Available at: http://www.bfi.org.uk/news-opinion/news-bfi/lists/jim-jarmusch-leading-actors-tom-waits-bill-murray [Accessed 11 Oct. 2017].

8. Andrew, G. (2015). Why ‘cool’ doesn’t do Jim Jarmusch justice. BFI Website. [online] Available at: http://www.bfi.org.uk/news-opinion/news-bfi/features/why-cool-doesnt-jim-jarmusch-justice [Accessed 12 Oct. 2017].

9. Keogh, P. (2017) Jim Jarmusch: Home and Away. (2017). Sight and Sound, (4), pp.8-9.

10. Keogh, P. (2014). Jim Jarmusch: Hoe the film world’s maverick stayed true to his roots. Sight and Sound. [online] Available at: https://www.theguardian.com/film/2014/feb/22/jim-jarmusch-only-lovers-left-alive [Accessed 16 Oct. 2017].

11. Jim Jarmusch: Women are my leaders’. (2014). The Guardian Website. [online] Available at: https://www.theguardian.com/film/2014/feb/20/jim-jarmusch-women-leaders-only-lovers-left-alive [Accessed 16 Oct. 2017].

12. Grant, B. and Sarris, A. (2008). Auteurs and authorship. Oxford: Blackwell, pp.561-564.

13. Petković, R. and Vuković, K. (2011). Postmodern Philosophy and the Impact of the Other in Jim Jarmusch’s Films. [sic] - a journal of literature, culture and literary translation, (2.1).

14. Jenny McDonell, J. (2014). Only Lovers Left Alive. The Irish Journal of Gothic and Horror Studies, 13, pp.127-129.

15. Glbey, R. (2017). How Jim Jarmusch used music to put a spell on Hollywood. The Guardian Website. [online] Available at: https://www.theguardian.com/music/2017/sep/21/jim-jarmusch-revisited-hollywood-film-soundtracks [Accessed 22 Oct. 2017].

16. Dyer, R. (1992). Only entertainment. London u.a.: Routledge.

17. Gledhill, C. (1990). Guide to the stars. New York: Routledge.

18. Wood, R (1977) Ideology, Genre, Auteur. Pp.1.16.18 from Film Comment 13, no. 1 (January-February 1977)

19. Brooke, M. (2015). A-list meets arthouse: when megastar actors work for auteurs. BFI. [online] Available at: http://www.bfi.org.uk/news-opinion/news-bfi/lists/list-meets-arthouse-when-megastar-actors-work-auteurs [Accessed 28 Jan. 2018].

20. Lost in Translation. (2003). [film] Directed by S. Coppola. Focus Featuresm, TFC, American Zoetrope, Elemental Films.

21. Broken flowers. (2005). [film] Directed by J. Jarmusch. USA: Focus Features, Five Roses, Bac Films.

22. Permanent Vacation. (1980). [film] Directed by J. Jarmusch. USA: Cinesthesia Productions.

23. Down By Law. (1986). [film] Directed by J. Jarmusch. USA: Black Snake, Grokenberger Film Produktion, Island Pictures.

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siliconec · 2 years ago

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multicaduk-blog · 7 years ago

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steeldetailingconstruction · 2 years ago

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