Representações dialógicas do outsider no cinema de Jim Jarmusch: Estranhos no Paraíso, Ghost Dog e Paterson

• Ano de defesa: 2020
• Autor(a) principal: Migliore, Riccardo
• Tipo de documento: Tese
• Tipo de acesso: Acesso embargado
• Idioma: por
• Instituição de defesa: Universidade Federal da Paraíba; Brasil; Letras; Programa de Pós-Graduação em Letras; UFPB
• Palavras-chave em Português: Cinema; Ficção; Outsider; Representação; Jarmusch; Fiction; Representation; Cine; Ficción; Representación; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS
• Link de acesso: https://repositorio.ufpb.br/jspui/handle/123456789/18654

The object of this thesis is the cinema of Jim Jarmusch, in which, we're focusing on the films Stranger than paradise (1984), Ghost dog (1999) and Paterson (2016). Our analytical category is character. In this aspect, we're emphasizing fictional entities and outsiders. In Jarmusch's films we don't simply testify the massive presence of outsiders, but instead, we posit that the dialogical interaction between characters, distinguished by their diversity, guides either the narrative or the mise en scène, by acquiring a structural function. Through an interdisciplinary approach, we consider the representations of the outsider in Jarmusch's cinema, highlighting its diversity. That allows to systematize submodalities of the outsider. By doing that, among other things, we're able to verify approximations between outsider and picaro, outsider and malandro, outsider and beatnik, and also outsider and poet. Therefore, it's possible to perceive that the so called outsider permeates the whole work of this filmmaker, in its multiple nuances, as we observe that the representation is meticulously heterogeneous. This outsider goes far beyond common mediatic portraits, and suggests, more than a scumbag (despite there are a few law-offenders in Jarmusch's films), a whole variety of odd characters including: foreigners, strangers, unrooted or “in transit” people (or someone who's just building up a new identity in a different place), a poet (still, a sui generis one), a free jazz musician, a deejay, a taxi-driver, a post-modern afro-samurai, and even vampires e zombies, amidst many other weird fictional entities. If by an analytical point of view our main reference is David Bordwell (2007) (2008), in theoretical terms, we comprehend Jarmusch's whole set of outsiders (interacting with other outsiders), through the “bakhtinian” study of the dialogical interactions (1997) (1998) (2017). Besides substantiating Mikhail Bakhtin's thought, we also consider themes like: fictional characters in cinema and literature, via authors like Antonio Candido and Anatol Rosenfeld (2007) and also Eder, Jannidis and Schneider (2010); the structural interiorization of the social aspect (supposedly exterior) in cinema and literature, with scholars like Antonio Candido (2006) (2007); representation and identity, through researchers like Stuart Hall (1989) (1997) (2006), Woodward (2000) and Tomaz Tadeu da Silva (2000). Furthermore, in this thesis, we underline the strong presence of intertextuality in Jim Jarmusch's films, especially in Ghost dog and Paterson. And also in terms of theoretical background, the director's peculiar sense of humor requires a reflection about pastiche, parody and satire, fact that leads to referencies like Northrop Frye (1973), Linda Hutcheon (1985) and Fredric Jameson (1991).