Bande à part (Jean-Luc Godard, 1964)

Coffee and Cigarettes (Jim Jarmusch, ongoing project, 1985 -)

Dead Man (Jim Jarmusch, 1996)

Down By Law (Jim Jarmusch, 1986)

Flirt (Hal Hartley, 1995)

Ghost Dog (Jim Jarmusch, 1999)

Johnny Guitar (Nicholas Ray, 1954)

Lightning Over Water (Wim Wenders, Nicholas Ray, 1980)

Mystery Train (Jim Jarmusch, 1989)

Natural Born Killers (Oliver Stone, 1994)

Night On Earth (Jim Jarmusch, 1992)

Permanent Vacation (Jim Jarmusch, 1980)

Pulp Fiction (Quentin Tarantino, 1994)

Rebel without A Cause (Nicholas Ray, 1955)

Schizopolis (Steven Soderbergh, 1996)

Stranger Than Paradise (Jim Jarmusch, 1984)

Books and Articles:

ALTMAN, Rick (1996), “Cinema and Genre”, From The Oxford History of World Cinema, Geoffrey Nowell-Smith (Ed.), Oxford: Oxford University Press.

ANDREW, Geoff (1998), Stranger Than Paradise, London: Prion.

BANGS, Lester (1987), Psychotic Reactions and Carburetor Dung, Toronto: Random House.

BAUDRILLARD, Jean (1994), “How can you jump over your shadow when you no longer have one?”, From The Illusion of the End, Oxford: Polity Press.

BLOOM, Allan (1987), The Closing of the American Mind, London: Penguin.

BORDWELL, David, STAIGER Janet and THOMPSON, Kristin (1985), The Classical Hollywood Cinema, Reprinted in 1994, London: Routledge.

COOK, David A., (1981), A History of Narrative Film, 1990 Edition, London: W. W. Norton & Company, Inc.

COOK, Pam (1985), The Cinema Book, London: BFI.

CRONIN, Anthony (1996), Samuel Beckett – The Last Modernist, London: HarperCollins.

DENTON, Robert E. (1988), The Primetime Presidency of Ronald Reagan, New York: Praeger.

FOSTER, Hal (1983), The Anti-Aesthetic, Seattle: Bay Press.

FOUCAULT, Michel (1970), The Order of Things, London: Tavistock.

GALLAGHER, Michael Paul (1997), Clashing Symbols – An Introduction to Faith & Culture, London: Darton, Longman and Todd.

GENETTE, Gerard (1982), Palimpsests: Literature in the Second Degree (Stages), (1982), 1998 Edition Translated by Channa Newman & Claude Doubinsky, Nebraska: University of Nebraska Press.

HARVEY, David, (1989), The Condition of Postmodernity, Oxford: Blackwell.

HARVEY, Sylvia (1978), May `68 and Film Culture, London: BFI.

HEBDIGE, Dick (1979), Subculture: The Meaning of Style, Reprinted in 1988, London: Routledge.

JARMUSCH, Jim (1984), “Some Notes On Stranger Than Paradise”, NYC, March 1984. (Reprinted by Ludvig Hertzberg at https://members.tripod.com/~jimjarmusch/notes.html).

KAUFFMANN, Stanley (1994), Distinguishing Features, London: The Johns Hopkins University Press.

KAEL, Pauline (1987), “Faked Out, Cooled Out, Bummed Out”, From State of the Art, London: Marion Boyars.

LEIBOWITZ, Flo (1988) "Neither Hollywood nor Godard: The Strange Case of Stranger Than Paradise", From Persistence of Vision, no. 6, Maspeth: New York.

LONG, Elizabeth (1985), The American Dream and the Popular Novel, London: Routledge.

LYOTARD, Jean-Francois, (1979), La Condition Postmodern, Translated in 1986 by Geoff Bennington and Brian Massumi as The Postmodern Condition: A Report on Knowledge, Manchester: Manchester University Press.

O’CLEARY, Conor (1993), America – A Place Called Hope?, Dublin: The O’Brien Press.

O’HARA, Craig (1995), The Philosophy of Punk – More Than Noise!!, Edinburgh: AK Press.

PIERSON, John (1995), Spike Mike Slackers and Dykes, London: Faber and Faber.

ROUD, Richard (ed.) (1980), Cinema – A Critical Dictionary, Volume I, London: Secker & Warburg.

SARRIS, Andrew (1968), The American Cinema: Directors and Directions 1929-1968, New York: Dutton.

STAM, Robert, BURGOYNE, Robert and FLITTERMAN-LEWIS, Sandy (1992), New Vocabularies in Film Semiotics, London: Routledge.

STILLER, Nikki (1987), “A Sad and Beautiful Film”, From The Hudson Review, Vol. XL, No. 1, Spring 1987.

TARNAS, Richard, (1991), The Passion of the Western Mind, London: Pimlico.

TAYLOR, Charles (1991), The Ethics of Authenticity, Harvard: Harvard University Press.

WHEALE, Nigel (ed.) (1995), Postmodern Arts, London: Routledge.

WOLLEN, Peter (1972), “Godard and Counter Cinema: Vent D’Est, Reprinted in Movies and Methods, Bill Nichols (ed.), London: University of California Press, 1985.

Reviews and Interviews:

American Cinematographer, “Stranger Than Paradise” (Jim Jarmusch interview), March 1985.

Cahiers du Cinéma, ‘Sept hommes à débattre’ (debate featuring François Truffaut), no. 150-51, December 1963- January 1964.

Film Comment, “The 1984 Movie Revue, I: Three Guys in Three Directions.” (Jim Jarmusch interviewed by Harlan Jacobson), Jan/Feb 1985.

Magill’s Survey of Cinema, “Stranger Than Paradise”, 15/6/1995.

Newsday, “Remaining Independent”, (Jim Jarmusch interviewed by John Anderson), 14/5/96.

New Statesman, ‘Christopher Cook meets the lone rider of American movies’, (Jim Jarmusch interviewed by Christopher Cook), Vol. 125, 5/7/1996.

Rolling Stone, “Too Cool For Words” (Jim Jarmusch interviewed by Tim Holmes), November 6, 1986.

Sight & Sound, “Home and Away” (Jim Jarmusch interviewed by Peter Keogh), August 1992.

Stills, (Jim Jarmusch interviewed by Saskia Baron), No. 29., February 1987.

Variety, December 27, 1989.

Washington Post, Hal Hinson, February 2, 1990.

Other Works Cited:

Monarch Notes, “Works of Geoffrey Chaucer: The Canterbury Tales”, Simon & Schuster, Inc., 11/1/1963.

Internet:

HARTL, John, “Review of Mystery Train”, (http://www.film.com/film-review/1990/10034/109/default-review.html)

Sundance: Filmmaker Focus: Jim Jarmusch http://www.sundancechannel.com/focus/jarmusch/jo_movies.shtml http://www.sundancechannel.com/focus/jarmusch/jo_independence.shtml The Sundance Channel, 1996.

CD-ROM:

Cinemania 1997, Baseline’s Encyclopedia of Film’s Biography of Jim Jarmusch, Microsoft 1997.

Encyclopaedia Britannica Multimedia Edition 1998, Declaration of Independence (1776), (Text reproduced), Encyclopaedia Britannica 1998.