1 David Bordwell & Janet Staiger, Kristin Thomson, The Classical Hollywood Cinema, Film Style & Mode of Production to 1960. New York: Columbia University Press, 1985.

2 Céline Murillo, L’Esthétique des films de Jim Jarmusch: répétition et référence. Dissertation. Université Toulouse II Le Mirail, 2008, p. 276.

3 Ibid., pp. 201-211.

4 Andrea Mantegna, Lamentation of Christ, 66 × 81 cm, Pinacoteca di Brera, Milan, c. 1480.

5 François Jost, L’Œil caméra: entre film et roman. Lyon: Presses Universitaires de Lyon, 1987. p. 28.

6 Jean Pierre Oudart, “La Suture”, I & II, Cahiers du Cinéma. No. 211, April 1969, pp. 36-39 & No. 212, May 1969, pp. 50-55.

7 Stephen Heath, “Notes on Suture”, Screen, Vol. 18, No. 2, 1977-78.

8 Slavoj Zizek, “Back to the Suture”, The Fright of Real Tears. London: BFI, 2001, pp. 30-54.

9 Ibid. p. 31.

10 “But I do not yet have a sufficient understanding of what this ‘I’is, that now necessarily exists. So I must be on my guard against carelessly taking something else to be this ‘I’, and so making a mistake in the very item of knowledge that I maintain is the most certain and evident of all. I will therefore go back and meditate on what I originally believed myself to be, before I embarked on this present train of thought. I will then subtract anything capable of being weakened, even minimally, by the arguments now introduced, so that what is left at the end may be exactly and only what is certain and unshakeable.” René Descartes, “Second Meditation”, Meditations on First Philosophy (1641), Philosophical Writings of Descartes, trans. John Cottingham, Robert Stoothoff, Dugald Murdoch, and Anthony Kenny. Cambridge: Cambridge University Press, 1984, 25, p. 17.

11 Gilles Deleuze, Dualism, Monism and Multiplicities (Desire-Pleasure-Jouissance), Seminar of March 26th. Daniel Smith (trans.). Contretemps. No. 2, May, 2001, p. 94.

12 Slavoj Zizek, op. cit. p. 31.

13 “Monistic philosophy sensitizes us to the fact that we are not dealing with a dichotomy, but rather that we are using different words as labels for equally ‘real’ points of a behavioral continuum.” John M. Berecz, “Towards a Monistic Philosophy of Man”, Andrews University Seminar Studies. Berrien Springs, MI: Andrews University Press, Vol. XIV, No. 2, Autumn, 1976, p. 288.

14 “Haven’t you realized that our soul is immortal and never destroyed?” He looked at me with wonder and said: “No, by god, I haven’t. Are you really in a position to assert that?” (608d). This and all subsequent quotes by Plato are taken from J. M. & D. S. Hutchinson, (eds.), Plato: Complete Works. Indianapolis: Hackett Publishing, 1997.

15 “Such things show clearly that the philosopher more than other men frees the soul from association with the body as much as possible.” Ibid. 65a, for separation and death see 64 c.

16 Paul Bowles, The Sheltering Sky. New York: New Directions Books, 1949.

17 “But I would have liked to see you make an analysis of the spontaneous religious sentiment or, more exactly, of the religious sensation which is (…) the simple and direct fact of the sensation of the eternal (which can very well not be eternal, but simply without perceptible boundaries, and like oceanic). Similar as an independent contact, the feeling is fundamentally subjective.” Sigmund Freud & Romain Rolland. Correspondance, 1923-1936. Vermorel, Henri, and Vermorel, Madeleine (eds.). Paris: Presses Universitaires de France, 1993.

18 Céline Murillo, “Bastardy: Jarmusch’s Way From Mongrelization to Non-Dualism”, In Praise of Cinematic Bastardy. Sebastien Lefait & Philippe Ortoli (eds.). Cambridge Scholar Publishing: Newcastle upon Tyne, 2012, pp. 52-64.

19 Aristotle, Metaphysics, IV 6 1011b13-20, Aristotle in Twenty-Three Volumes¸ trans. Hugh Tredennick, G.P Goold (ed.). Vol. XVIII, Cambridge: Harvard University Press, 1933, p. 189.

20 Second quote from Hagakure: “It’s bad when one thing becomes two. One should not look for anything else in the way of the samurai [..] If one understands things in this manner, he should be able to hear about all Ways and be more and more in accord with his own.” Tsunetomo Yamamoto, Hagakure: The Book of the Samurai [1716], trans. William Scott Wilson. Tokyo, New York & London: Kodansha International, 2000, p. 50.

21 “First, Zen believes that the logical dissection of reality will never bring about the unitive point of view, the only method by which reality can be presented as it is. The unitive point of view achieved by the intuitive method transcends not only subject and object but also all logical categories, including affirmation and negation.” Ha Tai Kim, « The Logic of the Illogical: Zen and Hegel”, Philosophy East and West. Hawaii: University of Hawaii Press, Vol. 5, No. 1, January 1955, p. 22.

22 Céline Murillo, “L’esprit ou la lettre de La voie du samouraï, dans l’incipit de Ghost Dog (1999) de Jarmusch”, Le Cinéma en toutes lettres: jeux d’écritures à l’écran, Nicole Cloarec (ed.). Paris: Michel Houdiard, 2007, pp. 239-252.

23 Killah Priest, “From then till Now”, Heavy Mental. 1998.

24 Ibid.

25 “La théologie de l’icône a très rapidement conclu à la nécessité d’une représentation directe du Christ. C’est ce qu’exprime la règle LXXXII du concile Quinisexte in Trullo.” Philippe Sers. Icônes et saintes images. Paris: Belles Lettres, 2002, p. 47.

26 Encyclopaedia Britannica makes it even more radical: “In philosophy, dualism is often identified with the doctrine of transcendence – that there is a separate realm or being above and beyond the world – as opposed to monism, which holds that the ultimate principle is inside the world (immanent).” Encylopaedia Britannica Online, retrieved from encyclopaedia. britannica.com.

27 “Le mouvement de transcendance doit être radical et irréversible. Il ne saurait se satisfaire de la demi sortie – de soi qui s’opère avec l’eros – car celui-ci donne beau jeu à l’intéressement et s’achève dans un retour à soi, mais il exige une sortie de soi sans retour, marquée par la gratuité, le désintéressement. Pour cela, il faut qu’entre en scène un nouveau personnage, l’Étranger, dont la venue noue l’intrigue du drame et lui confère une intensité inédite.” Simonne Plourde, Avoir-l’autre-dans-sa-peau. Lecture d’Emmanuel Lévinas. Sainte-Foy: Les Presses de l’Université Laval, 2003, pp. 43-44.

28 “L’équivoque de la relation érotique marque d’équivoque la subjectivité des partenaires, qui oscille d’une part entre l’immanence du besoin comblé par la jouissance et d’autre part, la transcendance du désir dans son ouverture à l’altérité.” Ibid. p. 42.

29 Emmanuel Lévinas, Totality and Infinity (1961), trans. Alphonso Lingis (1969), Pittsburgh, PA: Duquesne University Press, 1979, pp. 257-258.

30 Quoted in Nina Auerbach, Our Vampires, Ourselves. Chicago: University of Chicago Press, 1995, p. 20.

31 The Velvet Underground and Nico, Andy Wharol (prod.), “I’ll be your mirror”, The Velvet Underground and Nico, New York: Verve, 1967.

32 “In the continuity style the space of a scene is constructed along what is called variously the axis of action, the center line, or the 180° line. The scene’s action – a person walking, two people conversing, a car racing along a road – is assumed to take place along a clear-cut vector. This axis of action determines a half-circle, or 1 800 area, where the camera can be placed to present the action. Consequently, the filmmaker will plan, film, and edit the shots so as to respect this centerline. The camera work and mise-en-scene in each shot will be manipulated to establish and reiterate the 180° space.” David Bordwell, Kristin Thompson, Film Art (1979). New York: Mc Graw Hill, 2008, p. 231.

33 Wanda Jackson, “The Funnel of Love” [1960], Wanda Live! At Third Man Records, Third Man Records, 2011.