Jim Jarmusch’s cinema is recognizable for capturing moments of stillness in which action and drama are secondary. That is why his film Only Lovers Left Alive has been so prominent for critics and academics. This film has brought Detroit’s ruinous aesthetics to the screen. This article is an extension of these recent investigations since it postulates that the Detroit in Jarmusch’s film is an aesthetically inorganic city. Following in broad strokes Wilhelm Worringer’s guidelines, we analise the post-industrial style of Detroiter architecture and the representation of the vampire. This allows us to conclude that the inorganic —Detroit— has its own aesthetic capabilities, which are exalted by Jarmusch’s particular style.
|Translated title of the contribution||Inorganic aesthetic. Detroit in Only Lovers Left Alive|
|Number of pages||14|
|Journal||Archivos de la Filmoteca|
|Publication status||Published - 28-Apr-2020|