Abstract
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.
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