Lindsey Eckenroth
Biographic Data
| ID | 9774374 |
|---|---|
| NAME | Lindsey Eckenroth |
| GIVEN NAMES | Lindsey |
| FAMILY NAME | Eckenroth |
| SIGNATURE | ECKENROTH L |
| AFFILIATIONS | New School |
| ORCID | 0009-0004-8346-0674 |
| VERIFIED | Yes |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2014 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Self-Scoring as Neoliberal Self-Care in the Early Films of Jim Jarmusch
Characters in Jim Jarmusch’s films often play music for themselves during moments of boredom, transition, or stasis, and three films from his early career—Permanent Vacation (1980), Stranger Than Paradise (1984), and Mystery Train (1989)—are no exception. What unites these films further is their setting: all three were shot in, and feature characters attempting to navigate, US cities ravaged by the austerity politics of neoliberal urbanism. In th…
Representing Joy Division
This article examines the expressive potential of audiovisual combination in rockumentary by analyzing films that represent (post-)punk bands, with particular emphasis on Grant Gee’s Joy Division (2007). By focusing on potentialities present in late 1970s Manchester, Gee’s rockumentary moves beyond historical documentation and ultimately argues that Joy Division’s alternately ethereal and machinic sound is expressive of urban spaces that remain a…
No prominent works on this page.
Representing Joy Division
This article examines the expressive potential of audiovisual combination in rockumentary by analyzing films that represent (post-)punk bands, with particular emphasis on Grant Gee’s Joy Division (2007). By focusing on potentialities present in late 1970s Manchester, Gee’s rockumentary moves beyond historical documentation and ultimately argues that Joy Division’s alternately ethereal and machinic sound is expressive of urban spaces that remain a…
Self-Scoring as Neoliberal Self-Care in the Early Films of Jim Jarmusch
Characters in Jim Jarmusch’s films often play music for themselves during moments of boredom, transition, or stasis, and three films from his early career—Permanent Vacation (1980), Stranger Than Paradise (1984), and Mystery Train (1989)—are no exception. What unites these films further is their setting: all three were shot in, and feature characters attempting to navigate, US cities ravaged by the austerity politics of neoliberal urbanism. In th…
Aesthetics (1 work) · Argument (complex analysis) (1 work) · Art (1 work) · Art history (1 work) · Austerity (1 work) · Cinema and Media Studies (1 work) · Computer Science (1 work) · Dialectic (1 work) · Diverse Scientific and Economic Studies (1 work) · Division (mathematics) (1 work)