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90) - 02 - TESI DOCTORAL C.I.F. G: 59069740 Universitat Ramon Lull Fundació Privada. Rgtre. Fund. Generalitat de Catalunya núm. 472 (28 C. Claravall, 1-3 08022 Barcelona Tel. 936 022 200 Fax 936 022 249 E-mail: [email protected] www.url.es Agradecimientos Abstract JIM JARMUSCH DESDE LA POSMODERNIDAD Las teorías posmodernas como fuente de análisis de las películas de Jim Jarmusch PRIMERA PARTE 1. INTRODUCCIÓN 2. JUSTIFICACIÓN Y ESTADO DE LA CUESTIÓN 3. METODOLOGÍA 3.1 Estética y uso de la música 3.2 Dimensión histórica 3.3 Moral y política 3.4 Identidad y comunicación 3.5 Eclecticismo y juego de referencias 3.6 Lógica y ambigüedad del discurso 4. MARCO TEÓRICO: POSMODERNIDAD Y CINE POSMODERNO 4.1 Breve repaso histórico a la idea de posmodernidad 4.2 Posmodernidad y posmodernismo 4.3 El cine posmoderno: características generales 5. EL CINE DE JIM JARMUSCH: ENTORNO Y REFERENTES 5.1 El cine independiente estadounidense 5.2. Apuntes biográficos: Jim Jarmusch y su obra SEGUNDA PARTE 6. LA POSMODERNIDAD EN EL CINE DE JIM JARMUSCH 6.1 Estética y uso de la música 6.2 Dimensión histórica 6.3 Moral y política Stupid white men 6.4 Identidad y comunicación 6.5 Eclecticismo y juego de referencias 6.6 Lógica y ambigüedad del discurso 7. CONCLUSIONES 8. ANEXOS 8.1: Filmografía de Jim Jarmusch 8.2 Otras películas citadas 8.3: Bibliografía PRIMERA PARTE 1. INTRODUCCIÓN Ghost Dog Dead Man 2.

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