Taking into consideration Gerard Genette’s taxonomy of transtextual relations and Jean Baudrillard's notion of artifacts in the mediascape as esentially self-referential, our study explores the modes in which the film Hot Fuzz, by director Edgar Wright, refers to other films while paradoxically affirming its own autonomy as a work of art. After surveying the film, it was found that the use of paratextuality, hypertextuality, metatextuality, and intertextuality pervades the movie to the point that transtextuality becomes a motif on its own. This, we found, accounts for Hot Fuzz as a postmodern cultural artifact that, by paying homage to movies of the action genre in particular and cinema in general, foregrounds its status of artifact and detaches itself from a realist mode of representation.