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- W2894042961 abstract "Cinematic embodiments of vampires, with their inescapable reference to capitalist or feudal exploitation, narrate a violent extraction of blood at the hands of a mysterious and privileged class. But need the vampire be eternally cursed to represent parasitism, always penetrating for personal pleasure and physical renewal? Jim Jarmusch’s film Only Lovers Left Alive (2013) contains another incarnation of the old bloodsucking aristocrat, figured in the film as a series of decadent hipster vampires who make music and lounge about on their velvet couches, enjoying Shakespeare and Schubert while surrounded by the ruins of an impoverished Detroit they call home. What really makes this narrative different, however, is the unmistakable undertone that implies the vampires have internalized something of the surrounding postindustrial wasteland. The overlap between the nondiegetic soundtrack and the vampires’ diegetic musical production generates a shift in the film’s affect from one of killing thrills to languid sedation, from excitement to boredom, from sadistic penetration to exhausted mummification, reflecting Detroit’s now vacant streets and ruined factories. Only Lovers Left Alive, with its signature, lingering, slow-motion shots and lethargic montages, applies a new pace to an old vampire story, a pace that inflects vampires as depressed and emaciated subjects struggling to keep in time with a world that demands too much of them." @default.
- W2894042961 created "2018-10-05" @default.
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- W2894042961 date "2018-01-01" @default.
- W2894042961 modified "2023-09-25" @default.
- W2894042961 title "Exhausting horror: twenty-first-century vampires in Jim Jarmusch’s Only Lovers Left Alive" @default.
- W2894042961 doi "https://doi.org/10.1093/screen/hjy034" @default.
- W2894042961 hasPublicationYear "2018" @default.
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