1 Chris Campion, “East Meets West”, Jim Jarmusch Interviews, Ludvig Hertzberg (ed.). Jackson, MS: University Press of Mississippi, 2001, p. 204.
2 Jonathan Rosenbaum, “Regis Filmmaker’s Dialogue: Jim Jarmusch”, Ludvig Hertzberg, ibid., p. 127: “Jonathan Rosenbaum: Is Chaucer Street something you actually found there? Jim Jarmusch: No. We had that sign made”.
3 Geoff Andrew, “Jim Jarmusch Interview”, and Jonathan Rosenbaum, Ludvig Hertzberg, ibid., pp. 182 and 127.
4 Amelie Hastie, “The Vulnerable Spectator: Blood and Photons: The Fundamental Particles of Only Lovers Left Alive”, Film Quarterly, Vol. 68, No. 1, 2014, p. 66.
5 “Q & A with Jim Jarmusch and Tilda Swinton”, posted on YouTube by Film Society of Lincoln Center on 15 October, 2013.
6 Daniel Yacavone, Film Worlds: A Philosophical Aesthetics of Cinema, New York, Columbia University Press, 2014, pp. xviii-xix. Emphasis in original.
7 One exception is Mary Katherine Hall’s article “Now You Are a Killer of White Men: Jim Jarmusch’s Dead Man and Traditions of Revisionism in the Western”, Journal of Film and Video, Vol. 52, 2001, pp. 3-14. However in her paper, Hall draws on one of Jarmusch’s interviews not for filmic analysis, but rather to critique the framing of his discourse on Native American culture.
8 Jonathan Rosenbaum, Dead Man, London, British Film Institute, 2000, p. 12.
9 Interesting, nostalgic dialogues between Jarmusch and some of his collaborators can be found as supplemental material on the Criterion Collection release of Down by Law (1986), Blu-Ray, New York, The Criterion Collection, 2012.
10 Harlan Jacobson, “Jim Jarmusch”, Ludvig Hertzberg, op. cit., p. 13.
11 Geoff Andrew, “Jim Jarmusch Interview”, Ludvig Hertzberg, p. 189.
12 Chris Campion, “East Meets West”, Ludvig Hertzberg, p. 197.
13 Geoff Andrew, “Jim Jarmusch Interview”, Ludvig Hertzberg, p. 181.
14 Jonathan Rosenbaum, “Regis Filmmaker’s Dialogue: Jim Jarmusch”, Ludvig Hertzberg, p. 157.
15 Tod Lippy, “Interview with Jim Jarmusch,” Jim Jarmusch, Juan A. Suárez, Chicago, University of Illinois Press, 2007, p. 162.
16 “Jim Jarmusch Q & A – Dead Man”, posted on YouTube by Film Society of Lincoln Center on 25 April 2014.
17 Mark Mordue, “Asphalt Jungle Jim”, Ludvig Hertzberg, p. 83.
18 Peter Belsito, “Jim Jarmusch”, Ludvig Hertzberg, p. 44: “What are the other films that we hear in Stranger Than Paradise? There’s a science fiction film –”
“We hear Forbidden Planet, which is a science fiction film. The only other things we hear are part of a Super Bowl game and a cartoon which is a Fleischer Betty Boop cartoon.”
19 Helle Kannik Haastrup, “Storytelling Intertextuality: From Django Unchained to The Matrix”, Film International, Vol. 12, No. 1, 2014, p. 85.
20 Legend has it that at Rose Hobart’s premiere Salvador Dalí attacked the film and threatened Cornell, claiming Cornell had stolen ideas from his own dreams. For more, see Adam Lowenstein, Dreaming of Cinema: Spectatorship, Surrealism, and the Age of Digital Media, New York, Columbia University Press, 2015, p. 150.
21 Haastrup somewhat problematically leaves this unclear within her article, and seems to conflate this term with her later use of the term “implicit intertextuality”. For example, while she categorizes Woody Allen’s reappropriation of Battleship Potemkin’s Odessa Steps sequence within Bananas (1971) as an unmarked reference, a moment in The Pirates of the Caribbean: The Curse of the Black Pearl (2003) that similarly echoes one from The Crimson Pirate (1952) is labeled as implicit intertextuality. I, instead, prefer a definition of implicit intertextuality as one that is more structural, and recognized only by relating two texts in whole to each other. For example, Agnès Varda has frequently spoken about the important influence William Faulkner’s The Wild Palms had on the bi-part structuring of her first feature La Pointe Courte (1954). Jarmusch, perhaps in his own coded reference to Varda, notes the implicit intertextual relationship between the structure of The Wild Palms and his approach to Mystery Train (Jonathan Rosenbaum, “Regis Filmmaker’s Dialogue: Jim Jarmusch”, Ludvig Hertzberg, p. 128).
22 Helle Kannik Haastrup, op. cit., p. 87.
23 Carl Jung (1916), The Seven Sermons to the Dead, trans. H. G. Baynes (1925), The Gnostic Society Library. <http://gnosis.org/library/7Sermons.htm>. Accessed 28 March 2015.
24 Viewser is an increasingly popular neologism combining the role of a “viewer” and a “user”, given contemporary media’s high degree of interactivity allowed by the pausing, restarting, fast-forwarding, etc. allowed by DVDs or online videos.
25 Kristen Daly, “Cinema 3.0: The Interactive-Image”, Cinema Journal, Vol. 50, No. 1, 2010, p. 88.
26 Kristen Daly, ibid., p. 89.
27 Juan Suárez, op. cit., p. 3.
28 Helle Kannik Haastrup, op. cit., pp. 87-88.
29 Cassandra Stark, “The Jim Jarmusch Interview”, Ludvig Hertzberg, op. cit., pp. 52, 55, 56.
30 Susan Wloszczyna, “Only Lovers Left Alive”, RogerEbert.com, 11 April, 2014. ˂http://www.rogerebert.com/reviews/only-lovers-left-alive-2014˃ Accessed 28 March 2015.
31 Manohla Dargis, “Mystery Man on a Mission in Spain, Meeting Other Mystery People”, The New York Times, 30 April, 2009. ˂http://www.nytimes.com/2009/05/01/movies/01limi.html?_r=0˃ Accessed 28 March 2015.
32 Philip French, “The Limits of Control”, The Guardian, 13 December 2009. ˂http://www.theguardian.com/film/2009/dec/13/limits-of-control-review˃ Accessed 28 March 2015.
33 Roland Barthes (1973), The Pleasure of the Text, trans. Richard Miller, New York, Hill and Wang, 1975, p. 27. Emphasis in original.
34 Roland Barthes (1971), Sade/Fourier/Loyola, trans. Richard Miller, New York, Hill and Wang, 1976, p. 8.
35 Ibid., pp. 8-9.
36 Jonathan Rosenbaum, Dead Man, op. cit., p. 31.
37 “Archival Talks: Jim Jarmusch, The Limits of Control”, 30 April 2009, posted on YouTube by Film Society of Lincoln Center on 6 September 2013.
38 Ibid.
39 Quoted in Jonathan Romney, “Jim Jarmusch: How the Film World’s Maverick Stayed True to His Roots”, The Guardian, 22 February 2014. ˂http://www.theguardian.com/film/2014/feb/22/jim-jarmusch-only-lovers-left-alive˃ Accessed 28 March 2015.
40 Roland Barthes (1980), Camera Lucida: Reflections on Photography, trans. Richard Howard, New York, Hill and Wang, 2010, pp. 27-28. Emphasis in original.
41 Jacques Derrida, The Ear of the Other: Otobiography, Transference, Translation, Christie McDonald (ed.), trans. Peggy Kamuf & Avital Ronell, Lincoln, NE, University of Nebraska Press, 1985, p. 11. Emphasis in original.
42 Geoff Andrew, “Jim Jarmusch Interview”, Ludvig Hertzberg, op. cit., p. 194.
43 Noël Carroll, “The Future of Allusion: Hollywood in the Seventies (and Beyond)”, October, Vol. 20, MIT Press, 1982, p. 53.
44 Richard Miller describes an onlook as “a way of referring to things that matter to us, to our basic normative commitments – commitments that involve us at the very root of our identity and our non-neutral stance toward others and the world. See Friends and Other Strangers: Studies in Religion, Ethics, and Culture, New York, Columbia University Press, 2016.
45 Alexandre Astruc writes “I see mise en scène as a means of making the spectacle one’s own,” in essence, it is a representation of reality via an auteur’s intervention. This paper’s goal has been to show that Jarmusch’s intervention is made manifest through his intertextual references. For more see Alexandre Astruc, “What is mise en scène?”, Cahiers du Cinéma, the 1950s: Neo-Realism, Hollywood, New Wave, Jim Hillier (ed.), Cambridge, MA, Harvard University Press, 1985, p. 268.
46 Andrew Sarris, “Notes on the Auteur Theory in 1962”, Film Theory & Criticism, 7th Edition, Leo Braudy and Marshall Cohen (eds.), New York, Oxford University Press, 2009, p. 451.
