Transcending Transcendence in Jim Jarmusch's Paterson
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Abstract
Building on Paul Schrader's thesis in Transcendental Style in Film that immanence and transcendence clash, this article explores a departure from this binary in Jim Jarmusch's 2016 film, Paterson. Although Paterson follows the formula of transcendental cinema, it lacks Schrader's prerequisite “Decisive Moments” for transcendence. I contend that films can evoke transcendence without distinct release moments, as exemplified by Paterson. To support this, Paterson is contrasted with Yasujiro Ozu's 1953 masterpiece, Tokyo Story, identified by Schrader as quintessentially transcendental and a key influence on Jarmusch. Introducing the concept of “immanent transcendence” to describe Paterson's unique position, I argue that transcendence and immanence can coexist. I challenge traditional notions of transcendental cinema, shedding light on cinematic experiences that bridge immanence and transcendence.
Contributor Notes
Nich Krause is a doctoral candidate at Middle Tennessee State University, specializing in film theory and the intersections of film and philosophy. He completed his undergraduate and master's degrees in philosophy at Colorado State University, where his research focused on American Pragmatism and pluralistic conceptions of meaning-making. Nich's current research explores depictions of fat bodies in cinema, especially the ethical questions that arise from the use of fat suits in contemporary film.