This book examines the films of Jim Jarmusch from a sound-oriented perspective. The three essential acoustic elements that structure a film music, words and noise propel this books fascinating journey through his work. Exploring the directors extensive back catalogue, including Stranger Than Paradise (1984), Down By Law (1986), Dead Man (1995) and Only Lovers Left Alive (2013), Sara Piazzas unique reading reveals how Jarmusch created a form of sound democracy in film, in which all acoustic layers are capable of infiltrating each other and in which sound is not subordinate to the visual.
