Jim Jarmusch:
A Bibliography of Materials in the UC Berkeley Library

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Journal Articles

Articles and Books on Individual films


Belsito, Peter.
"Jim Jarmusch." In: Notes from the pop underground / edited by Peter Belsito. Berkeley, CA : Last Gasp of San Francisco, c1985.
Bancroft pfNX504.B45 1985 Non-circulating; may be used only in The Bancroft Library.

Dillon, Steven.
"Situating American film in Godard, Jarmusch, and Scorsese." In: The Solaris effect: art & artifice in contemporary American film / Steven Dillon. 1st ed. Austin : University of Texas Press, 2006.
Full text available [UCB users only]
MAIN: PN1993.5.U6 D47 2006

Jim Jarmusch : interviews
Edited by Ludvig Hertzberg. Jackson : University Press of Mississippi, c2001.
MAIN: PN1998.3.J33 A5 2001

Mosca, Umberto
Jim Jarmusch Milano : Editrice Il castoro, c2000.
MAIN: PN1998.3.J33 M67 2000

Romagnani, Paola.
Jim Jarmusch : una storia indipendente Faenza (Ravenna) : Cinetecnica, 2002.
MAIN: PN1998.3.J376 R663 2002

Suarez, Juan Antonio.
Jim Jarmusch Urbana : University of Illinois Press, c2007.
MAIN: PN1998.3.J33 S83 2007
Table of contents only http://www.loc.gov/catdir/toc/ecip0620/2006029224.html

Journal Articles

Arrington, Carol Wayne.
"Film's avant-guardian." (Jim Jarmusch) Rolling Stone March 22, 1990 n574 p38(1)

Bourgeois, David Bourgeois New York, May 13, 1996 v29 n19 p17(1)
"Man in the white hair." (New York filmmaker Jim Jarmusch)(Interview)
"Jarmusch's latest movie 'Dead Man' is an unconventional Western that prominently features the hallucinogen peyote. He professes to a love of New York City, although the high cost of running a business has made him think of moving elsewhere." [Expanded Academic Index]

Canby, Vincent
"The giddy minimalism of Jim Jarmusch." (film maker) The New York Times Nov 12, 1989 v139 s2 pH15(N) pH15(L) col 3 (33 col in)

Cook, Christopher.
"Christopher Cook meets the lone rider of American movies." (Jim Jarmusch)(Interview) New Statesman (1996) July 5, 1996 v125 n4291 p41(2) (956 words)

Farrell, Megan S.
"Jim Jarmusch: American Film Auteur." Bulletin of Bibliography. 52 (4): 267-76. 1995 Dec.

Fujiwara, Chris
"Transcendental Purity: Ozu to Jarmusch." Art New England v. 27 no. 2 (February/March 2006) p. 18-19, 63
UC users only
"The cinema of the great Japanese director Yasujiro Ozu still embodies, in the West, a vision of "transcendental" purity. So precise in their registration of time passing, so moving in their portrayal of ordinary people and events, Ozu's movies, through their harmonious compositions and their infinite wealth of detail, also create a sense of timelessness. No Ozu tradition exists in Western cinema, although occasionally a film reflects something of his rigor, generosity, and implacable realism. In the East, Ozu has become a symbol of a purely Asian cinema, free of Hollywood hegemony. It is by his example of a cinema of time, rather than any particular stylistic procedures, that Ozu inspires contemporary filmmaking and shows the way toward the cinema of the future. The writer goes on to discuss Ozu's influence on the work of several contemporary directors: Jim Jarmusch, Wayne Wang, Takeshi Kitano, Hou Hsiao-hsien, and Kore-eda." [Art Index]

Gold, Richard.
"Headstrong helmer sees art in the deal: Jim Jarmusch does it his way by raising own production coin." (movie producer-director) Variety Dec 27, 1989 v337 n12 p1(2)

Higuinen, Erwan; Joyard, Olivier
"L'homme qui aimait les livres: entretien avec Jim Jarmusch." Cahiers du Cinema no. 539 (October 1999) p. 38-41
"An interview with filmmaker Jim Jarmusch on the occasion of the release of his film Ghost Dog. The film centers on a hitman engaged in a battle with his former mafiosi employers, who now wish to kill him. Jarmusch discusses a range of topics concerning the film, including how he went about writing the screenplay, his choice of Forest Whitaker for the role of the hitman, the inclusion of quotations from an 18th-century Japanese book entitled Livre du Samourai, how he based his portrayal of the gangster milieu on his own experience of living in a mafiosi neighborhood in New York, and the inclusion of obvious and less-obvious references to other films." [Art Inderx]

Hoberman, J.
"Roadside attractions." (film-maker Jim Jarmusch) (Cover Story) Sight and Sound August 1992 v2 n4 p6(3)

Jacobson, Harlan; others
"Three guys in three directions." Film Comment Vol XXI nr 1 (Jan-Feb 1985); p 54-62
Three young directors (James Cameron, Jim Jarmusch and David Lynch) discuss their careers to date.

"Jim Jarmusch." Current Biography April 1990 v51 n4 p26(5)

Keogh, Peter
"Home and away." (interview with Jim Jarmusch) (Interview) Sight and Sound August 1992 v2 n4 p8(2)

Klady, Leonard
"Jim Jarmusch."(profile) American Film Oct 1986 v11 p46(2)

Rosenbaum, Jonathan
"A gun up your ass: an interview with Jim Jarmusch." (American independent filmmaker)(Interview) Cineaste Spring 1996 v22 n2 p20(4) (4628 words)
UC users only
"American independent filmmaker Jim Jarmusch began his career in 1980 with 'Permanent Vacation' and has since finished six movies. In his latest work, 'Dead Man,' Jarmusch dwelt on the life of an orphaned accountant, William Blake, as he journeys through life with a newfound Indian friend named Nobody. Jarmusch believes 'Dead Man' is spurred by numerous themes such as politics, violence, American history, spirituality, the poet William Blake, fame and being outlawed." [Expanded Academic Index]

Rubenstein, L.
"The final word." Cineaste Vol XV nr 2 (1986); p 60
Discusses the way formalism has reappeared in some recent films by Peter Greenaway, Jim Jarmusch and David Byrne

Schoemer, Karen.
"Film as life, and vice versa." (interview with Jim Jarmusch) (Interview) The New York Times April 30, 1992 v141 pC1(L) col 4 (28 col in)

Torday, Daniel
"Q+A: Jim Jarmusch." (Interview) . Esquire June 2004 v141 i6 p46(1) (404 words)
UC users only

Villella, Fiona A.
"Lost in Paradise: The Cinema of Jim Jarmusch" Screening the Past 13 (December)2001

Winters, Laura
"Jarmusch still fills the role of favorite outsider." (filmmaker Jim Jarmusch)(Living Arts Pages) The New York Times Feb 27, 2000 s2 pAR21(N) pAR21(L) col 1 (40 col in)

Articles and Books on Individual films

Broken Flowers

Alleva, Richard.
"No easy gait: 'Broken Flowers' & 'March of the Penguins'.(Screen)(Movie Review)." Commonweal 132.16 (Sept 23, 2005): 22(2).
UC users only

Frodon, Jean-Michel
"Les Trois niveaux de la tristesse." Cahiers du Cinema no. 604 (September 2005) p. 14-16
"A review of Broken Flowers, a film by Jim Jarmusch. In this film, an aging Lothario played by Bill Murray discovers that he has a son from an unnamed past lover. Reluctantly, he sets out to discover the identity of mother and son. Tranquil and supercool, this film is also profoundly sad, revealing in its peaceful and ultra-hip way the loss of a world." [Art Index]

Fuller, Graham.
"Jim Jaramusch." Interview, Sep2005, Vol. 35 Issue 8, p138-214, 3p
UC users only

Gant, Charles.
"Too grown-up?.(the movie 'Broken Flowers' is more popular in France than in United Kingdom)." Sight and Sound 15.12 (Dec 2005): 8(1).
The reasons for the movie 'Broken Flowers' popularity in France than in United Kingdom are discussed.

Roddick, Nick
"Taking care of is-ness." Sight & Sound v. ns15 no. 11 (November 2005) p. 14-18
UC users only
"Although "mainstream" used to be a dirty word for the in-vogue independent director Jim Jarmusch, he has created a potential hit with his new film Broken Flowers, which features Bill Murray in the leading role of Don Johnston. In his previous films, Jarmusch has invariably presented his characters on a take-them-or-leave-them basis, but this work indicates something else. In Murray, Jarmusch may very well have found his perfect actor." [Art Index]

Spencer, Liese
"Broken Flowers." Sight & Sound v. ns15 no. 11 (November 2005) p. 52-3
UC users only
"Jim Jarmusch's new film follows a grey and jowly bachelor, played by Bill Murray, as he visits his former girlfriends to find out if it is true, as an anonymous letter claimed, that an ex-lover had a son by him 19 years previously. Broken Flowers riffs on themes of intimacy, emptiness, and disappointment in an extremely entertaining way. Steering clear of the more pretentious trappings of Jarmusch's earlier work, this is an elegant but accessible film." [Art Index]

Wong, Paul T. P.
"Anatomy of Midlife Crisis: From Broken Dreams to the Quest for Meaning." PsycCRITIQUES. Vol 51 (1), 2006, pp. [np]
UC users only

Coffe and Cigarettes

Buss, Robin
"Coffee and Cigarettes." (Movie Review) TLS. Times Literary Supplement Nov 5, 2004 i5301 p21(1)

Durbin, Jonathan
"Java with Jarmush: with his new work, the rebel director offers a kind of big-screen symphony." Maclean's May 26, 2004 p86(3)

Gilbey, Ryan
"Coffee and Cigarettes." Sight & Sound v. ns14 no. 11 (November 2004) p. 45
UC users only
"With Coffee and Cigarettes, director Jim Jarmusch returns to an early portmanteau structure and sheds the pretensions of such recent films as Dead Man and Ghost Dog The Way of the Samurai. In 11 monochrome segments, which vary greatly in quality, performers talk while enjoying coffee, tea, and cigarettes. Overall, the work has the feel of a stopgap album of random B-sides, or a batch of DVD extras best enjoyed with the fast-forward button close to hand." [Art Index]

Lally, Kevin.
"Coffee and Cigarettes." (Buying & Booking Guide)(Movie Review) Film Journal International May 2004 v107 i5 p37(2) (775 words)

Noh, David
"Coffee talk: Jim Jarmusch assembles eclectic movie guest list." (Interview) . Film Journal International June 2004 v107 i6 p16(2) (1318 words)

Norris, Chris
"In Bloom." Film Comment v. 41 no. 4 (July/August 2005) p. 34-6
UC users only
"A review of Broken Flowers, a film by Jim Jarmusch. The film's central character, played by Bill Murray, is an aging success, unhappy in love, who is looking back on life. An anonymous letter informing him that he has a 19-year-old son sparks off a singularly reluctant mystery hunt to track down the boy's mother. Jarmusch, who wrote the film with Murray in mind, has refined his repertoire into a spare, solid kind of storytelling for this poignant and funny meditation on memory and loss. His famous patience for examining uneventful moments works well in Broken Flowers, establishing the strangeness of each life encountered by Murray's character, Don, and building the tension as the audience too is sucked up into Don's state of apophenia, seeing patterns or connections in possibly random or insignificant data." [Art Index]

Rainer, Peter.
"War of the Poses." (Movie Review) New York May 17, 2004 v37 i17 p56(2)

Raskin, Richard
"Coffee and Cigarettes" In: The art of the short fiction film : a shot by shot study of nine modern classics Jefferson, N.C. : McFarland, c2002.
MAIN: PN1995 .R354 2002
PFA : PN1995 .R354 2002

Rowin, Michael Joshua.
"The Road Well Travelled: Coffee and Cigarettes." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 32: (no pagination). 2004 July-Sept.

Schickel, Richard.
"Caffeine and Nicotine: Mismatched stars drink and smoke but don't connect in Jarmusch's cool Coffee and Cigarettes." (Arts/Movies)(Review)(Coffee and Cigarettes)(Movie Review) Time May 24, 2004 v163 i21 p85 (340 words)
UC users only

Travers, Peter
"Coffee and Cigarettes." (Movie Review) Rolling Stone May 27, 2004 i949 p90(1)

Dead Man

Ansen, David.
"Dead Man." (movie reviews) Newsweek June 3, 1996 v127 n23 p75(1) (495 words)
UC users only

Bromley, Roger.
"Dead Man Tells Tale: Tongues and Guns In Narratives of The West." European Journal of American Culture 2001 20(1): 50-
UC users only
"Uses Jim Jarmusch's film Dead Man (1995) to analyze the dominant narratives of the American West and to consider how these narratives are articulated with the forms of Western capitalism. The film critiques the cult of the Western and seeks to secure the legitimacy of an alternative, local or "little" narrative through its deconstructive techniques. The film's pragmatics of narration work against hegemonic discourses of discovery and civilization, and the narrated journey is viewed through the downgrading, violation, and spoliation of indigenous peoples and territories. The film explores the cartographies of violence in the American (and Western capitalist) imaginary and narrates against the historical, political, economic, and symbolic erasure of Native Americans. Linked with this is an examination of the manner in which the film reflects on themes of spirituality, transience, and death. As a film of self-reflection, it is not solemn or merely politically correct but rather a comedy that mocks liberal platitudes while systematically divesting a moral economy of its narrative centrality and continuity." [America History and Life]

Cummings, Denise K.
"'Accessible Poetry'? Cultural Intersection and Exchange in Contemporary American Indian and American Independent Film." Studies in American Indian Literatures: The Journal of the Association for the Study of American Indian Literatures, vol. 13, no. 1, pp. 57-80, Spring 2001.

Curley, Melissa Anne-Marie.
"Dead Men Don't Lie: Sacred Texts in Jim Jarmusch's Dead Man and Ghost Dog: Way of the Samurai." Journal of Religion & Film, Oct2008, Vol. 12 Issue 2, p4-4, 1p

Curnutte, Richard A., Jr.
"Mad Poets: William Blake, Jim Jarmusch and Dead Man." Film Journal. 1 (1): (no pagination). 2002.

"Dead Man--an encounter with the unknown past." Journal of Organizational Change Management, 2002, Vol. 15 Issue 1, p48, 15p

DeAngelis, Michael
"Gender and other transcendences: William Blake as Johnny Depp." In: Ladies and gentlemen, boys and girls : gender in film at the end of the twentieth century / edited by Murray Pomerance.p. 283-99 Albany : State University of New York Press, c2001. SUNY series, cultural studies in cinema/video.
Main Stack PN1995.9.S47.L33 2001

Denby, David.
"Dead Man." (movie reviews) New York May 13, 1996 v29 n19 p59(1)

Glatzer, Richard
"Dead Man." (movie reviews) The Advocate (The national gay & lesbian newsmagazine) May 28, 1996 n708 p59(2)

Hall, Mary Katherine .
"Now you are a killer of white men: Jim Jarmusch's 'Dead Man' and the traditions of revisionism in the Western." (Critical Essay) Journal of Film and Video Wntr 2001 v52 i4 p3(12)\
UC users only
"A critical analysis of Jim Jarmusch's 'anti-Western' film, 'Dead Man,' is presented, focusing on the traditions and ideology of the Western genre. Topics addressed include historical revisionism, the Native American/ White relationship, the portrayal of savagism and the Other, and the depiction of the physical and spiritual worlds." [Expanded Academic Index]

Holden, Stephen.
"Dead Man." (movie reviews) The New York Times May 10, 1996 v145 pB4(N) pC3(L) col 1 (21 col in)

Jones, Kent.
"Dead Man." (movie reviews) Cineaste Spring 1996 v22 n2 p45(2) (1660 words)
UC users only
"A review of Dead Man, a film by Jim Jarmusch. Set in the American West, the film is structured as an epic film poem and concerns a journey taken by a man mistaken for the poet William Blake. This journey is not one of enlightenment or comprehension but is one of depletion, making it a more or less perfect metaphor for the aggressive, acquisitive core of American experience. The film's coarse humor is more than appropriate for a work centered on such an experience; it has a scathing edge and is supported by a unique historical realism. The film has the superreal physical impact of Murnau's journeys into abstraction." [Art Index]

Kauffmann, Stanley.
"Dead Man." (movie reviews) The New Republic June 3, 1996 v214 n23 p30(2) (515 words)
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Kilpatrick, Jacquelyn
"The Sympathetic 1980s and 1990s: Dead Man" In: Celluloid Indians : Native Americans and film / Jacquelyn Kilpatrick. Lincoln, Neb. : University of Nebraska Press, 1999.
Main Stack PN1995.9.I48.K56 1999
Moffitt PN1995.9.I48.K56 1999
Native Amer PN1995.9.I48.K56 1999

Klawans, Stuart.
"Dead Man." (movie reviews) The Nation May 27, 1996 v262 n21 p35(2) (1479 words)
UC users only

Lalanne, Jean-Marc
"Dead Man." Cahiers du Cinema no. 498 (January 1996) p. 32-3
A review of director Jim Jarmusch's latest film Dead Man (1995). Set in 19th-century America and starring Johnny Depp, Robert Mitchum, and Gabriel Byrne, this film centers around a man who suffers from a series of hellish hallucinations. Without doubt Jarmusch's most exciting and daring film yet, Dead Man can be viewed as a poem about death that marks the genuine renaissance of this film director.

Lee, C. J. P. (Charles Jason Peter)
"Death as 'Sanity': The Nature of Death and Dead Man's In/Difference; Dead Man – An Examen of Unconsciousness" In: The metaphysics of mass art : cultural ontology Lewiston : Edwin Mellen Press, c1999.
Main Stack PR6023.A93.P535 1999

Levich, Jacob.
"Western auguries: Jim Jarmusch's 'Dead Man.'" (feature film)(includes analysis of the film's references to the poetry of William Blake) Film Comment May-June 1996 v32 n3 p39(3) (2274 words)
UC users only
"Writer-director Jim Jarmusch's Dead Man is a filmic rendition of the poet William Blake's life and thought. Jarmusch employs the conventions of the Western genre to construct visual and narrative analogues of some of the thorniest aspects of the poet's worldview. Just below the film's surface, a fairly conventional outlaw narrative, lies a visionary allegory of the soul's progress from physical death to spiritual transcendence, and one of the film's themes is a blessedly unsentimental attempt to come to terms with the historical substance of westward expansion. It particularly addresses the destruction of native populations and cultures and the dichotomy of wilderness versus civilization. Jarmusch's Blake (Johnny Depp) is the fiery poet who championed revolution and purifying violence, who attacked willful ignorance and hypocrisy, and who furiously denounced poverty, slavery, commerce, and the church. This Blake saw poetry as visionary truth, subversive, immensely powerful, and potentially life-changing." [Art Index]

Marcus, Greil.
"A poet's words echo, tempering evil in the Old West." (Jim Jarmusch's 1996 film 'Dead Man') (Living Arts Pages) The New York Times March 9, 1998 v147 pB2(N) pE2(L) col 3 (26 col in)

Marcus, Greil.
"Singer as mediator between known and unknown." (comparing ideas of singer David Thomas, leader of Pere Ubu music group, on Elvis Presley, to Jim Jarmusch's 1996 film 'Dead Man') (Living Arts Pages) The New York Times March 2, 1998 v147 pB2(N) pE2(L) col 3 (22 col in)

Moliterno, Gino.
"Dead Man." (movie reviews) Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 14: (no pagination). 2001 June.

Nieland, Justus.
"Graphic Violence: Native Americans and the Western Americans in Dead Man." CR: The New Centennial Review. 1 (2): 171-200. 2001 Fall.

Otomo, Ryoko.
"'The Way Of The Samurai': 'Ghost' Dog, Mishima, and Modernity's 'Other'." Japanese Studies 2001 21(1): 31-43 13p
UC users only

Pawelczak, Andy.
"Dead Man." (movie reviews) Films in Review July-August 1996 v47 n7-8 p86(2)
A review of Dead Man, written and directed by Jim Jarmusch. This film is a crypto-Western concerning the hero William Blake, who, after being wounded in a shoot-out, embarks on an allegorical version of the vision quest. The film is far too self-consciously hip and its attempts at a quasi-mystical lyricism misfire. However, it is redeemed by its twilight, other-worldly atmosphere and its eccentric mix of literary and visual concepts.

Pelzer, Peter
"Dead Man – an encounter with the unknown past." Journal of Organizational Change Management Feb 2002 Volume: 15 Issue: 1 Page: 48 - 62
Jim Jarmusch’s feature film Dead Man, apparently a Western, exceeds the genre’s traditional boundaries and shows ambivalence, unclear roles in an environment existing between the times of the nation’s founding and the success of civilisation. It shows a world in transformation where change is happening, not managed. The film is a provocation for adherents to traditional Western movies. But a closer look at this world offers a surprising insight into a dynamic involved in change processes that also occur after mergers or take-overs in contemporary business organisations. The charm in using the film as a metaphor is at least two-fold. The interpretation with the help of Lyotard and Baudrillard shows a double edged dynamic where the successful new owner after a take-over is not necessarily in charge of the game. Beyond that the use of a movie from outside the mainstream offers a non-mainstream argument inside the core of a mainstream management topic.

Rickman, Gregg
"The Western under Erasure: Dead Man" In: The Western Reader / edited by Jim Kitses & Gregg Rickman. 1st Limelight ed. New York : Limelight Editions, 1998.
Main Stack PN1995.9.W4.W39 1998
Bancroft PN1995.9.W4.W39 1998

Salyer, Greg
"Poetry Written in Blood: Creating Death in Dead Man" In: Imag(in)ing otherness : filmic visions of living together / edited by S. Brent Plate, David Jasper. Atlanta, Ga. : Scholars Press, c1999. Series American Academy of Religion cultural criticism series ; no. 7
Main Stack PN1995.9.E95.I46 1999
Compar Ethn PN1995.9.E95.I46 1999

Thompson, Ben
"Dead Man." (movie reviews) Sight and Sound July 1996 v6 n7 p41(2)
"Jim Jarmusch's Dead Man will not disappoint those who appreciate his languorous, elegiac pacing. This film, however, lacks the implicit humanism that has so often gone unnoticed in Jarmusch's earlier works. There is something quite dispiriting about feeling that the father of modern American filmmaking has become subject to a Tarantinoesque strain of influence. Whatever disagreements the film's hazy morality and disregard for the sanctity of human life might provoke, however, it looks beautiful." [Art Index]

Down By Law

Ansen, David.
"Down by Law." (Movie review) Newsweek Sept 22, 1986 v108 p84(1)

Canby, Vincent.
"Down by Law." (Movie review)The New York Times Sept 19, 1986 v136 p22(N) pC21(L) col 4 (22 col in)

Denby, David.
"Down by Law." (Movie review)New York Sept 29, 1986 v19 p86(1)

Holmes, Tim.
"Too cool for words." (Jim Jarmusch's movie Down by Law) Rolling Stone Nov 6, 1986 p34(2)

Jacobson, Harlan
"Down by Law." Film Comment v. 22 (November/December 1986) p. 51-2

Kael, Pauline.
"Down by Law." (Movie review)The New Yorker Oct 20, 1986 v62 p115(1)

Kauffmann, Stanley.
"Down by Law." (Movie review) The New Republic Sept 29, 1986 v195 p24(2) (1225 words)

Kemp, Philip
"Down by Law." (Movie review) Sight and Sound Spring 1987 v56 n2 p142(2)

O'Brien, Tom.
"Down by Law." (Movie review) Commonweal Oct 10, 1986 v113 p535(1)

Reynaud, Berenice
"Down by Law." Afterimage v. 14 (January 1987) p. 5

Stiller, Nikki
"A sad and beautiful film." (Down by Law) The Hudson Review Spring 1987 v40 p48(11)

Ghost Dog

Bowman, James.
"Ghost Dog the Way of the Samurai." (Review) (Review) The American Spectator April 2000 p56(2)

Brooks, Xan.
"Ghost Dog the Way of the Samurai." (Review) Sight and Sound May 2000 v10 i5 p49(2)
UC users only
This film is marked by Jarmusch's familiar blend of warmth and cool-eyed distance, but in its broader picture, it can be frustratingly lazy. It is by turns funny and melancholic, sweet-centered and dark-edged. Jarmusch clearly finds observations easier than analysis, and the journey more fulfilling than the destination.

Cummings, Denise K.
"'Accessible Poetry'? Cultural Intersection and Exchange in Contemporary American Indian and American Independent Film." Studies in American Indian Literatures: The Journal of the Association for the Study of American Indian Literatures, vol. 13, no. 1, pp. 57-80, Spring 2001.

Curley, Melissa Anne-Marie.
"Dead Men Don't Lie: Sacred Texts in Jim Jarmusch's Dead Man and Ghost Dog: Way of the Samurai." Journal of Religion & Film, Oct2008, Vol. 12 Issue 2, p4-4, 1p

Fields, I. W.
"Family values and feudal codes: the social politics of America's twenty-first century gangster." Journal of Popular Culture, vol. 37, no. 4, pp. 611-633, May 2004
UC users only
"At the beginning of the twenty-first century, the social reality of one of popular culture's favorite figures-the gangster-is in decline. Similarly, the era of another late-twentieth-century gangster figure, the African American gangsta, also is waning. In the wake of a general truce between the Crips and Bloods gangs in many major cities, the gangsta street warrior culture no longer threatens social order the way it did 10 to 15 years ago. Despite the steady deterioration of gangster and gangsta life on the street, gangsters' imaginary lives thrive in film, television, fiction, music, and computer games. A unique mimesis between gangsters and their fictional representations enhances the popularity of gang narratives. This article examines two of these representations-The Sopranos, the HBO television series by David Chase, and Jim Marmusch's film Ghost Dog: The Way of the Samurai. Both present significant permutations of gangster mythology. A pragmatic portrayal of the Mafia in mainstream American culture, The Sopranos dramatizes the struggle of the middle-class American family as mob life. What The Sopranos is to family melodrama, Ghost Dog is to romance and drama of the gangsta as street warrior. Jarmusch uses the Eastern mythos of the samurai to depict a black man's mode of survival in late-twentieth-century urban America." [Communication Abstracts]

Gonzales, Eric.
"Jim Jarmusch's Aesthetics of Sampling in Ghost Dog - The Way of the Samurai." Kinema, Spring2005 Issue 23, p33-44, 12p;

Imboden, R.
"Jim Jarmusch's Flying Ghost Language:'Ghost Dog: The Way of the Samurai."
UC users only

Klawans, Stuart
"Dog Days." (Review) The Nation March 13, 2000 v270 i10 p34 (1601 words)

Lanzagorta, Marco.
"Ghost Dog." (movie reviews) Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 22: (no pagination). 2002 Sept-Oct.

Larcher, JeromeLarcher, Jerome
"Ghost Dog: the way of the samurai." Cahiers du Cinema no. 539 (October 1999) p. 34-7
"A review of Ghost Dog, the way of the samourai, a film by Jim Jarmusch. Ghost Dog is a professional assassin who is engaged in a battle with his former mafiosi employers who now wish to kill him. Likely to be killed at any moment, he has to call on all his resources to avoid death. Both the film and its central character present a cross between the past and the present and traditional and contemporary forms: The film presents known character types yet tries to find new incarnations for them, and Ghost Dog lives according to ancestral codes yet dresses like a rapper. The strength of this funny and melancholy film lies in the way Jarmusch presents the characters without ever stooping to caricature or parody." [Art Index]

Levy, Shawn
"Postcards from Mars" Sight and Sound 10:4 (April), 22-24, 2000
UC users only
" Jim Jarmusch is one of the few American directors to deal openly and repeatedly with questions of racial, ethnic, and religious heterogeneity, assimilation, and mistrust. He has been enthralled since his first major release with the notion of America as a multitude of independent and distinct ingredients, endemic, imported, and idiosyncratically hybrid. In his new film, Ghost Dog: The Way of the Samurai, he changes the thematic focus slightly. Instead of considering people living in a land other than that of their birth, he focuses on people whose adherence to subcultures--hip-hop, the Mafia, and the code of the samurai--shows them as alien to the American mainstream. As in the earlier films but without their playful irony, the outsider in Ghost Dog is recompensed for his alienness with mistrust, persecution, suspicion, and nullification." [Art Index]

Otomo, Ryoko
"'The Way of the Samurai' - Ghost Dog, Mishima, and Modernity's Other." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 9: (no pagination). 2000 Sept-Oct.

Otomo, Ryoko
"'The Way of the Samurai' - Ghost Dog, Mishima, and Modernity's Other." Japanese Studies. 21 (1): 31-43. 2001 May.

McCarthy, Todd
"Ghost Dog the Way of the Samurai." (Review) Variety May 24, 1999 v375 i2 p65 (938 words)
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Otomo, Ryoko.
"'The Way of the Samurai' - Ghost Dog, Mishima, and Modernity's Other." Senses of Cinema 9 (Sep-Oct), 2000

"Samurai Cineaste: Jim Jarmusch, the solitary warrior of indie films, may have a hit in the stark, haunting Ghost Dog." (The Arts/Cinema)(Review)_(movie review) Time March 13, 2000 v155 i10 p82 (778 words)
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Scott, A.O.
"Passions of emptiness." (Review) The New York Times March 3, 2000 pB1(N) pE1(L) col 1 (25 col in)

Stephens, Chuck
"Ghost dog: the way of the Samurai." Film Comment Vol XXXVI nr 1 (Jan-Feb 2000); p 74-75
UC users only
"Jim Jarmusch's Ghost Dog: The Way of The Samurai contains many stories that the director rashomonically wants to tell and retell. Forest Whitaker is Ghost Dog, a curtly cornrowed assassin-for-hire, who sees himself as a loyal defender of Louie, a Mafia underboss. The more Jarmusch drives his work toward philosophical extremes, embellished artiness, and curdly utopianisms, the less he is estranged from the paradox of high-mindedness and lowest common denominators." [Art Index]

Villella, Fiona A.
"Spirituality in the 21st Century." Senses of Cinema 7 (June), 2000

Mystery Train

Ansen, David.
"Mystery Train." (movie reviews) Newsweek Dec 4, 1989 v114 n23 p78(1)

Baumann, Paul.
"Mystery Train." (movie reviews) Commonweal May 18, 1990 v117 n10 p319(2)

Canby, Vincent
"Mystery Train." (movie reviews) The New York Times Nov 12, 1989 v139 s2 pH15(N) pH15(L) col 3 (33 col in)

Carlson, Thomas C.
"The Comeback Corpse in Hollywood: Mystery Train, True Romance, and the Politics of Elvis in the '90s." Popular Music and Society, vol. 22, no. 2, pp. 1-10, Summer 1998.

Carmichael, Thomas.
"Postmodernism and American cultural difference: 'Dispatches,' 'Mystery Train,' and 'The Art of Japanese Management.'" (Special Issue: Asia/Pacific as Space of Cultural Production) boundary 2 Spring 1994 v21 n1 p220(13)
UC users only
"Michael Herr's history of the war in Vietnam in 'Dispatches,' Jim Jarmusch's motion picture 'Mystery Train,' and 'The Art of Japanese Management' by Richard Pascale and Anthony G. Athos illustrate different ways Asian difference has been represented in postmodern American texts. Herr traces the war in Vietnam to the refusal to recognize the other as different, symptomatic of a American problem with identity. Pascale and Athos appropriate the Japanese as other by making them familiar. Jarmusch ironically shows how self projects the other to define itself under postmodern conditions of cultural homogenization and eclecticism." [Expanded Academic Index]

Cardullo, Robert James.
"Mystery Train." The Hudson Review Autumn 1990 v43 n3 p480(9)

Cardullo, Robert James.
"Saint cinema." The Hudson Review Autumn 1990 v43 n3 p480(9)

Carlson, Thomas C.
"The Comeback Corpse in Hollywood: Mystery Train, True Romance, and the Politics of Elvis in the '90s." Popular Music and Society Summer 1998 v22 i2 p1(1) (4362 words)
UC users only
"Hollywood motion pictures are increasingly referencing Elvis or using his character. Jim Jarmusch's Mystery Train (1989) and Tony Scott's True Romance (1993) are two recent films reflective of the society's fascination with the King of Rock 'n' Roll. They reveal that Elvis remains the perfect symbol of cultural contradictions and displaced desires." [Expanded Academic Index]

Carmichae, Thomas
"Postmodernism and American Cultural Difference: Dispatches, Mystery Train, and The Art of Japanese Management" Boundary 2 / A journal of postmodern literature 21:1, 220-232, 1994
UC users only

Gonzalez, Eric
"In and along the mississippi: The motif of music in Joel and Ethan Coen's O Brother, Where Art Thou? and Jim Jarmusch's mystery train." Revue française d'études américaines 003, no98, pp. 99-110
In O Brother, Where Art Thou? and Mystery Train the Coen brothers and Jim Jarmusch choose the state of Mississippi and the city of Memphis, Tennessee as the settings of their heroes' peregrinations. Music permeates Joel Coen's and Jim Jarmusch's cinematic spaces, so much that it influences their narrative and stylistic perspectives and structures their works. The aim of this paper is to examine how the Coen brothers' and Jarmusch's choice of the musical field as a territory for their reconstructions of the South enables them to collate distinct artistic domains and genres in their representations of "border incidents" between stories, legends and history.

Gribbin, Dan.
"Gone fishing." Film Comment Nov-Dec 1995 v31 n6 p80(4) (2847 words)
UC users only
"Jim Jarmusch's Mystery Train is a witty and engaging film in which the director limits the action to a rundown area close to an Amtrak station in Memphis. Subtly yet insistently, Jarmusch invites the audience to consider this bluesy southern river town, with its racially mixed population, as a microcosm of the national and even global struggle to accommodate differences. The film is cool and camp, with droll ironies and dry humor, but it is at bottom a meditation on brotherhood." [Art Index]

Jacobson, Harlan
"Mystery Train." Film Comment v. 25 (July/August 1989) p. 68

Kauffmann, Stanley.
"Mystery Train." (movie reviews) The New Republic Dec 11, 1989 v201 n24 p24(1) (1285 words)
UC users only

Klawans, Stuart.
"Mystery Train." (movie reviews) The Nation Dec 11, 1989 v249 n20 p726(2) (930 words)
UC users only

"Mystery Train." (movie reviews)The New York Times Nov 17, 1989 v139 pC16(L) col 5 (21 col in)

Pally, M.
"Closely watched 'Train'." Film Comment Vol XXV nr 4 (July-Aug 1989); p 19-21
UC users only
"Director Jim Jarmusch's Mystery Train is the final installment in a triptych of films. Like Stranger Than Paradise and Down By Law, the movie reveals Jarmusch's fascination with emotions and events that occur simultaneously without ever connecting directly. In Mystery Train, three separate groups of people--two Japanese tourists, an Italian woman and an American woman, and a trio of thugs--spend the night in separate rooms at a seedy hotel in Memphis, Tennessee, without crossing paths. The technique has been used before, in literature by William Faulkner and in film by Robert Altman, but Jarmusch uses it with more gentleness and deadpan humor." [Art Index]

Pym, John.
"Mystery Train." (movie reviews) Sight and Sound Winter 1989 v59 n1 p64(1)

Smith, Murray
"Parallel Lines." [On the narrative form of Mystery Train] In: American independent cinema / edited by Jim Hillier. London : British Film Institute Publishing, 2001. A sight and sound reader
Main Stack PN1993.5.U6.A44 2001
PFA PN1993.5.U6.A44 2001

Night on Earth

Bowman, James.
"Night on Earth." (movie reviews). The American Spectator August 1992 v25 n8 p49(1)

Buss, Robin.
"Night on Earth." (movie reviews). TLS. Times Literary Supplement August 7, 1992 n4662 p16(1)

Bowman, James
"Night on Earth." (movie reviews) The American Spectator August 1992 v25 n8 p49(1)

Buss, Robin
"Night on Earth." (movie reviews) TLS. Times Literary Supplement August 7, 1992 n4662 p16(1)

Canby, Vincent.
"Night on Earth." (movie reviews) The New York Times May 1, 1992 v141 pB6(N) pC10(L) col 4 (17 col in)

Cramer, Bobby.
"Night on Earth." (movie reviews). Films in Review Jan-Feb 1992 v43 n1-2 p35(2)

Kauffmann, Stanley.
"Night on Earth." (movie reviews) . The New Republic May 18, 1992 v206 n20 p32(1)
UC users only

Kroll, Jack.
"Night on Earth." (movie reviews) Newsweek May 18, 1992 v119 n20 p66(1)

Letts, Vanessa.
"Night on Earth." (movie reviews) Spectator August 8, 1992 v269 n8561 p30(1)

"Night on Earth." (movie review) The New York Times Dec 3, 1992 v142 pB4(N) pC20(L) col 4 (2 col in)

Romney, Jonathan.
"Night on Earth." (movie reviews) . Sight and Sound August 1992 v2 n4 p59(1)

Stranger Than Paradise

Ansen, David.
"Stranger than paradise." (movie reviews) Newsweek Oct 8, 1984 v104 p87(1)

Callahan, Jean
"Stranger than paradise." American Film v. 10 (November 1984) p. 62

Canby, Vincent
"Stranger than paradise." (movie reviews) The New York Times Sept 29, 1984 v134 p13(N) p14(L) col 1 (22 col in)

Ferncase, Richard K.
"Deadpan alley: Stranger than paradise." In: Outsider features : American independent films of the 1980s / Richard K. Ferncase. p. 55-66. Westport, Conn. : Greenwood Press, 1996. Contributions to the study of popular culture ; no. 52
Main Stack PN1993.5.U6.F44 1996.

Harvey, Stephen
"Stranger than paradise." Film Comment v. 20 (November/December 1984) p. 67

Jackson, Marni
"Stranger than paradise." (movie reviews)Maclean's Nov 26, 1984 v97 p78(1)

Kauffmann, Stanley
"Stranger than paradise." (movie reviews) The New Republic Oct 29, 1984 v191 p24(3) (804 words)
UC users only

Kopkind, Andrew
"Stranger than paradise." (movie reviews) The Nation Dec 15, 1984 v239 p658(2) (699 words)
UC users only

Kruger, Barbara
"Stranger than paradise." Artforum International v. 23 (February 1985) p. 62-3

Linnett, Richard.
"As American as You Are: Jim Jarmusch and Stranger than Paradise." Cineaste: America's Leading Magazine on the Art and Politics of the Cinema. 14 (1): 26-28. 1985.

Maslin, Janet .
"The director of 'Stranger than Paradise' finds success." (Jim Jarmusch) (includes other film news) The New York Times Jan 19, 1985 v134 p12(N) col 1 (22 col in)

Porter, Andrew .
"Stranger than paradise." (movie reviews) The New Yorker Nov 12, 1984 v60 p180(4)

Seitz, Michael H.
"Stranger than paradise." (movie reviews) The Progressive Jan 1985 v49 p36(1)

Simon, John
"Stranger than paradise." (movie reviews) National Review March 22, 1985 v37 p55(1) (211 words)
UC users only

Van Gelder, Lawrence.
"'Stranger than paradise': its story could be a movie." The New York Times Oct 21, 1984 v134 s2 pH23(N) pH23(L) col 1 (43 col in)

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