1 I would like to thank Jim Jarmusch scholar Céline Murillo for reading this article and providing helpful insights.

2 Several of the songs are covers.

3 Jay Carr, “Jim Jarmusch: A Little Nervous”, The Boston Globe, September 17, 1986. <http://jimjarmusch.tripod.com/bg86.html> Accessed on February 26, 2015.
Céline Murillo, L’Esthétique des films de Jim Jarmusch: répétition et référence. Dissertation, Université de Toulouse II Le Mirail, 2008, p. 136.

4 Céline Murillo, idem., pp. 135-44.

5 Ibid., pp. 136, 438.

6 Juan A. Suárez, Jim Jarmusch, Urbana: University of Illinois Press, 2007, p. 141.

7 Inkoo Kang, “Jim Jarmusch’s Vampire Film Only Lovers Left Alive Doesn’t Bother With the Genre’s Rules,” The Village Voice, March 26, 2014. <http://www.villagevoice.com/2014-03-26/film/jim-jarmusch-interview> Accessed on December 25, 2014.

8 Guido Schulz (2011) explains that Marx distinguished between the “fetish character” of the commodity, i.e., the “regulating social power that objectified” the “physical and social qualities of labour in favor of their physical qualities,” and fetishism, i.e., the “illusion” by which the “social properties ascribed to fetish bearing things are natural and inherent to these.”

9 Karl Marx, Capital: A Critique of Political Economy (Volume II), 2008, 2010 [1885, 1893], p. 135.
<https://www.marxists.org/archive/marx/works/download/pdf/Capital-Volume-II.pdf> Accessed on February 25, 2015.

10 In 1887, Alfred Binet noted that the fetishist resorted to a fetish to reach orgasm and suggested that this sexual pathology was rooted in childhood sexuality.

11 Roland Chemana and Bernard Vandermersch (eds.), Dictionnaire de la psychanalyse. Paris, Larousse, 2002, p. 134.

12 Laura Mulvey, “Visual Pleasure and Narrative Cinema” (1975), Visual and Other Pleasures, Bloomington and Indianapolis: Indiana UP, 1989, p. 25.

13 Metz, Christian. Le Signifiant imaginaire: psychanalyse et cinema. Paris: Christian Bourgois, 2002 [1977], p. 105.

14 Idem., p. 102.

15 The thin line between obsession and fetishism probably has a lot to do with Freud’s admission that a degree of fetishism is “normal.”

16 In an interview, Jarmusch said the main criterion for the gloves was that they looked cool (Bailey 2013), but costume designer Bina Daigeler (Miller 2014) let on that they were a “second skin” meant to “save off psychic static.”

17 The fourth vampire being Ava (Mia Wasikowska).

18 Man with Guitar says to The Lone Man when handing him the guitar in its case: “You do know that this guitar was owned, and played, by Manuel el Sevillano. It was recorded on a wax cylinder in the 1920s, believe it or not. God only knows whatever happened to that” [68: 25].

19 Marx, pp. 160, 172, 193.

20 See Frédéric Bisson’s insightful analysis of the film.

21 Wolfgang Iser, The Act of Reading: A Theory of Aesthetic Response. Baltimore and London: The Johns Hopkins UP, 1978, p. 137.

22 Suárez, p. 145.

23 Idem., p. 112.

24 Ibid., p. 139.

25 For instance, Fred Botting, analyzing the relationship between the two female characters in Angela Carter’s 1977 novel The Passion of New Eve, compares the “entrapping fetishism” one character (Leilah) relies on to seduce another (Evelyn) to “vampiric corruption” (The Gothic 124).

26 Suárez, p. 3.

27 Lauren M.E. Goodlad and Michael Bibby (eds.), Goth: Undead Subculture, Durham, NC, Duke UP, 2007, pp. 1, 376-97.
Proximity between the two subcultures is further evidenced by Fetish icon Dita von Teese and Gothic icon Marilyn Manson’s marriage (from 2005 to 2008).

28 Fred Botting, Gothic, London and New York, Routledge, 1996, p. 5.

29 Murillo, pp. 288-89.

30 The spinning motif can also be linked to the setting. Half of the film takes place in Detroit, the home of the American car, and besides recording on his 8-track and listening to records, driving his wheels seems to be one of Adam’s main occupations [13: 16, 44: 48].

31 See Bisson.

32 Julian Rice, The Jarmusch Way: Spirituality and Imagination in Dead Man, Ghost Dog, and The Limits of Control, Lanham, MD, Scarecrow Press, 2012, pp. 274, 280.

33 Jean-Louis Leutrat, Vie des fantômes: le fantastique au cinéma, Paris, Éditions de l’Étoile / Cahiers du cinéma, 1995, p. 149, my translation.

34 Linda Hutcheon, The Poetics of Postmodernism: History, Theory, Fiction, London and New York: Routledge, 1988, p. 89.

35 Linda Hutcheon, Irony’s Edge: The Theory and Politics of Irony, London and New York, Routledge, 1994, pp. 66, 105.