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  1. African American cinema is loosely classified as films made by, for, or about Black Americans. Historically, African American films have been made with African-American casts and marketed to African-American audiences. The production team and director were sometimes also African American.

  2. Experimental rock, also called avant-rock, is a subgenre of rock music that pushes the boundaries of common composition and performance technique or which experiments with the basic elements of the genre.

  3. Thriller film, also known as suspense film or suspense thriller, is a broad film genre that evokes excitement and suspense in the audience. The suspense element found in most films' plots is particularly exploited by the filmmaker in this genre. Tension is created by delaying what the audience sees as inevitable, and is built through situations that are menacing or where escape seems ...

  4. Mar 24, 2017 · Byron Coley: The No Wave movement was a dark flash of underground energy occurring between the years 1976 and 1980. New York City was where most of the musicians, artists and filmmakers lived at the time, but there were parallel movements in cities like Berlin, Melbourne and Zurich. The No Wave aesthetic revolved around the punk-derived notion.

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    Jarmusch was born January 22, 1953, in Cuyahoga Falls, Ohio, the middle of three children of middle-class suburbanites. His mother, of German and Irish descent, had been a reviewer of film and theatre for the Akron Beacon Journal before marrying his father, a businessman of Czech and German descent who worked for the B.F. Goodrich Company. She introduced Jarmusch to cinema by leaving him at a local cinema to watch matinee double features such as Attack of the Crab Monsters and Creature From the Black Lagoon while she ran errands. The first adult film he recalls seeing was the 1958 cult classic Thunder Road, the violence and darkness of which left an impression on the seven-year-old Jarmusch. Another B-movie influence from his childhood was Ghoulardi, an eccentric Cleveland television show which featured horror films. Along with his enthusiasm for film, Jarmusch was an avid reader in his youth and had a greater interest in literature, which was encouraged by his grandmother. Though h...


    Jarmusch's final year university project was completed in 1980 as Permanent Vacation, his first feature film. It had its premiere at the International Filmfestival Mannheim-Heidelberg (formerly known as Filmweek Mannheim) and won the Josef von Sternberg Award. It was made on a shoestring budget of around $12,000 in misdirected scholarship funds and shot by cinematographer Tom DiCillo on 16 mm film. The 75 minute quasi-autobiographical feature follows an adolescent drifter (Chris Parker) as he...


    Dead Man (1995) In 1995, Jarmusch released Dead Man, a period film set in the 19th century American West starring Johnny Depp and Gary Farmer. Produced at a cost of almost $9 million with a high-profile cast including John Hurt, Gabriel Byrne and, in his final role, Robert Mitchum, the film marked a significant departure for the director from his previous features. Earnest in tone in comparison to its self-consciously hip and ironic predecessors, Dead Man was thematically expansive and of an...


    A five-year gap followed the release of Ghost Dog, which the director has attributed to a creative crisis he experienced in the aftermath of the September 11 attacks in New York City. 2004 saw the eventual release of Coffee and Cigarettes, a collection of eleven short films of characters sitting around drinking coffee and smoking cigarettes that had been filmed by Jarmusch over the course of the previous two decades. The first vignette, "Strange to Meet You", had been shot for and aired on Sa...

    In the early 1980s, Jarmusch was part of a revolving lineup of musicians in Robin Crutchfield's Dark Day project, and later became the keyboardist and one of two vocalists for The Del-Byzanteens, a No Wave band who released the LP Lies to Live Byin 1982. Jarmusch is also featured on the album Wu-Tang Meets the Indie Culture (2005) in two interludes described by Sean Fennessy in a Pitchfork review of the album as both "bizarrely pretentious" and "reason alone to give it a listen". Jarmusch and Michel Gondry each contributed a remix to a limited edition release of the track "Blue Orchid" by The White Stripes in 2005. The author of a series of essays on influential bands, Jarmusch has also had at least two poems published. He is a founding member of The Sons of Lee Marvin, a humorous "semi-secret society" of artists resembling the iconic actor, which issues communiqués and meets on occasion for the ostensible purpose of watching Marvin's films. He released three collaborative albums wi...

    In 2014 Jarmusch shunned the "auteur theory" and likened the filmmaking process to human sexual reproduction:

    In 1980, Jarmusch’s film Permanent Vacation won the Josef von Sternberg Award at the International Filmfestival Mannheim-Heidelberg. In 1999, he was laureate of the Douglas Sirk Preis at Filmfest Hamburg, Germany. In 1984, he won the Caméra d'Or at Cannes Film Festival for Stranger Than Paradise. In 2004, Jarmusch was honored with the “Filmmaker on the Edge Award” at the Provincetown International Film Festival. In 2005, he won the Grand Prix of the 2005 Cannes Film Festival for his film Broken Flowers. Jarmusch is credited with having instigated the American independent film movement with Stranger Than Paradise. In her description of the film in a 2005 profile of the director for The New York Times, critic Lynn Hirschberg declared that Stranger than Paradise "permanently upended the idea of independent film as an intrinsically inaccessible avant-garde form". The success of the film accorded the director a certain iconic status within arthouse cinema, as an idiosyncratic and uncompr...

    Jarmusch rarely discusses his personal life in public. He divides his time between New York City and the Catskill Mountains. He stopped drinking coffee in 1986, the year of the first installment of Coffee and Cigarettes, although he continues to smoke cigarettes. In a February 2014 interview, Jarmusch stated that he is not interested in eternal life, as "there's something about the cycle of life that's very important, and to have that removed would be a burden".

    Other sources 1. Hertzberg, Ludvig (2001). Jim Jarmusch: Interviews. Jackson: University Press of Mississippi. ISBN 1-57806-379-5. OCLC 46319700. 2. Gonzalez, Éric, "Jim Jarmusch's Aesthetics of Sampling in Ghost Dog–The Way of the Samurai", Volume!, vol. 3, n° 2, Nantes: Éditions Mélanie Seteun, 2004, pp. 109–21. 3. Suárez, Juan Antonio (2007). Jim Jarmusch. Urbana: University of Illinois Press. ISBN 978-0-252-07443-1. OCLC 71275566. 4. Ródenas, Gabri (2009), Guía para ver y analizar Noche en la Tierra de Jim Jarmusch, Barcelona/Valencia: Octaedro/Nau Llibres. ISBN 978-84-8063-931-6/978-84-7642-776-7 5. Ródenas, Gabri (2009), "Jarmusch y Carver: Se ha roto el frigorífico" in Fernández, P. (Ed.), Rompiendo moldes: Discursos, género e hibridación en el siglo XXI. Zamora/Sevilla: Editorial Comunicación Social; ISBN 978-84-96082-88-5. Available at Google Books. 6. Ródenas, Gabri (2009), "Jarmusch Vs Reagan" in Revista Odisea. Almería: University of Almería. December 2009. ISSN 1578-382...

    Aurich, Rolf; Reinecke, Stefan (2001). Jim Jarmusch. Bertz + Fischer. ISBN 3-929470-80-2. OCLC 53289688.
    Morse, Erik (May 6, 2009). "The man in Control: Jim Jarmusch interview". San Francisco Bay Guardian.
    Rice, Julian. (2012). The Jarmusch Way: Spirituality and Imagination in Dead Man, Ghost Dog, and The Limits of Control. Lanham, Maryland: Scarecrow Press. ISBN 978-0-8108-8572-1 (hardcover); ISBN 9...
    Smith, Gavin (May–June 2009). "Altered States: Jim Jarmusch interview". Film Comment. Archived from the originalon May 22, 2009.
    Jim Jarmusch at IMDb
    Jim Jarmusch at AllMovie
    Jim Jarmusch discography at Discogs
    Jim Jarmusch at the Senses of CinemaGreat Directors critical database
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  6. New German Cinema (German: Neuer Deutscher Film) is a period in German cinema which lasted from 1962 to 1982, [3] in which a new generation of directors emerged who, working with low budgets, and influenced by the French New Wave, gained notice by producing a number of "small" motion pictures that caught the attention of art house audiences.

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