In 1995, American auteur Jim Jarmusch released his experimental western Dead Man. In 1999, Jarmusch released Ghost Dog: Way of the Samurai, which played with the genres of the samurai picture and the mafia movie. In this paper, I argue that these two films share a single narrative, and that narrative is about books and what books can do. Taking up Mircea Eliade’s notion of the sacred text as a manual for recovering primordial time, I suggest that the protagonists of both films should be understood as Eliade’s “religious man.”
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: Vol. 12
, Article 2.
Available at: http://digitalcommons.unomaha.edu/jrf/vol12/iss2/2