23 Januari 2014 Jim Jarmusch Special Jozef Van Wissem in Concert

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23 januari 2014 Jim Jarmusch Special Jozef van Wissem in Concert - Only Lovers Left Alive Ter gelegenheid van de première van de nieuwe film van Jim Jarmusch: Only Lovers Left Alive, organiseert Filmhuis Den Haag op 7, 8 en 9 februari een speciaal programma rondom deze regisseur. Met twee van zijn eerdere films, plus een bijzonder concert van de componist van de soundtrack van Only Lovers Left Alive: Jozef van Wissem. Concert Jozef van Wissem Op vrijdag 7 februari geeft componist en luitist Jozef van Wissem een concert voorafgaand aan de vertoning van Only Lovers Left Alive. Jozef van Wissem (een in Brooklyn wonende Nederlander) componeerde de soundtrack van deze film en won hiervoor een Gouden Palm op het Filmfestival van Cannes. Van Wissem bracht samen met Jim Jarmusch twee albums uit: Concerning the Entrance into Eternity en The Mystery of Heaven. Hij speelde live met Tilda Swinton en met Zola Jesus, voor wie hij een compositie schreef die in de film te horen is. Tom Hiddleston, de acteur die de rol van Adam speelt, zegt zijn personage voor een deel op Van Wissem gebaseerd te hebben. De muziek van Van Wissem, gespeeld op een zwarte, speciaal voor hem ontworpen barokluit, is intens en bezwerend. Vrijdag 7 feb, aanvang 20:30, double bill van concert en film: toegang €15 kaartverkoop via filmhuisdenhaag.nl Voorproefje: op zondag 2 februari is Jozef van Wissem te gast bij het VPRO programma Vrije Geluiden. Nederland 1, 10:30-11:20, www.vpro.nl/vrije-geluiden Only Lovers Left Alive Detroit is het nieuwe Transsylvanië in de nieuwe vampierenfilm van Jim Jarmusch, Only Lovers Left Alive. De vervallen buitenwijken van de stad vormen, afgewisseld met de smalle straatjes van Tanger, de sfeervolle modern gothic achtergrond van het onconventionele liefdesverhaal van Adam en Eve. Ze leven ieder in hun eigen territorium, maar kunnen niet zonder elkaar. Met Tom Hiddleston en Tilda Swinton als übercoole vampieren. Dagelijks te zien in Filmhuis Den Haag vanaf 6 feb. Coffee and Cigarettes Coffee and Cigarettes (2003) bestaat uit 11 korte hoofdstukken, die zich allemaal in hetzelfde café afspelen. Er komt een keur van bevriende muzikanten, acteurs en regisseurs voorbij om te filosoferen over de verslavingen en obsessies van het leven, en waarom koffie en sigaretten geen voedzame lunch maken. Met o.a. Tom Waits, Iggy Pop, Meg en Jack White (White Stripes), Spike Lee, Bill Murray, Steve Buscemi en Cate Blanchett. Zaterdag 8 feb 21:45 uur Filmhuis Den Haag, 95 min, ned ondertiteld, met inleiding. The Limits of Control The Limits of Control (2009) is misschien wel Jarmusch's meest minimalistische film, en in zijn geval wil dat heel wat zeggen. Lone Man, gespeeld door Isaac de Bankolé, is op een missie die hem naar Madrid en Sevilla brengt. Visueel is de film allerminst minimalistisch dankzij het betoverende camerawerk van Christopher Doyle, ook verantwoordelijk voor In the Mood for Love en 2046 van Wong Kar-wai. Ook met Tilda Swinton. Zondag 9 feb 16:00 uur Filmhuis Den Haag, 116 minuten, ned ondertiteld, met inleiding. NOOT VOOR REDACTIE: Voor meer informatie, interviewaanvragen en beeldmateriaal kunt u contact opnemen met Carlijn Toenders (marketing & communicatie Filmhuis Den Haag) 070-3459900 [email protected] Facebook event: https://www.facebook.com/events/184486841761562/.

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The White Possession of Detroit in Jim Jarmusch’S Only Lovers Left Alive Matthew J
1 ‘Your Wilderness’: The White Possession of Detroit in Jim Jarmusch’s Only Lovers Left Alive Matthew J. Irwin American Studies, University of New Mexico, Albuquerque, New Mexico ([email protected]) Abstract After a decade of accelerated disinvestment and depopulation, Detroit (re)appeared in the national imaginary as “urban frontier” open for (re)settlement by (mostly white) creative entrepreneurs. Recently, scholars have begun to address the ways in which this frontier rhetoric underscores a settler colonial discourse of erasure for the purpose of land acquisition and (re)development. The post-industrial landscape assumes a veil of wildness and abandon that arouses settler colonial desire for land through a narrative of white return that relies not just on a notion black criminality or ineptitude, but also more fundamentally on an assumption of deferred white possession. Though this work has productively described the settler colonial conditions of racialized (re)development in the Motor City, it has remained tied to a binary of black/white relations. It has ignored, therefore, white possession as a process that mythologizes and absorbs Indigenous history and delegitimizes Indigenous people. In this paper I read Jim Jarmusch’s 2014 vampire film Only Lovers Left Alive as a “landscape of monstrosity” that inadvertently and momentarily recovers Indigenous and African American presence in moments of erasure and absence. Where the film centers on a white vampire elite and suggests a “zombie” white working class, the Detroit landscape recovers African Americans through their invisibility (as ghosts) and Native Americans through savage or regressed nature (as werewolves). More broadly, I argue that Only Lovers Left Alive actively participates in an ideological process of (re)settlement that disguises land speculation (and its inherently disruptive cycles of uneven development) in a renewed frontier mythology.
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