Abstract
The aim of this paper will be to examine the stylistic and, to some extent, thematic interplay between written text, cinematic narratives and soundtrack in Jim Jarmusch’s Ghost Dog–The Way of the Samurai. Indeed, Jarmusch weaves a rich intertextual network by means of an aesthetic of sampling clearly reminiscent of that adopted by rap musicians since the end of the 1970s. The–mainly instrumental–music for the film is composed by hip-hop collective Wu-Tang Clan’s mastermind The RZA, and underscores an auteur’s rereading of the gangster movie genre.
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