Jazz and Cocktails: Reassessing the White and Black Mix in Film Noir
In many noirs, the white protagonists work in nightclubs, as singers, dancers or musicians - Veronica Lake's character in This Gun for Hire (Tuttle, 1942), June Vincent and Dan Duryea's characters in Black Angel (Neill, 1946), Ida Lupino's character in Road House (Negulesco, 1948) - i...
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| Veröffentlicht in: | Literature film quarterly 2007-07, Vol.35 (3), p.222-228 |
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| creator | Wager, Jans B. |
| description | In many noirs, the white protagonists work in nightclubs, as singers, dancers or musicians - Veronica Lake's character in This Gun for Hire (Tuttle, 1942), June Vincent and Dan Duryea's characters in Black Angel (Neill, 1946), Ida Lupino's character in Road House (Negulesco, 1948) - in the segregated (if not exactly swing) tradition. In the neo-noir Collateral, the jazz sequence serves primarily to confirm white male power over black militancy. Author's Note This paper was originally presented at the Society for Cinema and Media Studies conference in London in 2005. |
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| ispartof | Literature film quarterly, 2007-07, Vol.35 (3), p.222-228 |
| issn | 0090-4260 2573-7597 |
| language | eng |
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| source | JSTOR Archive Collection A-Z Listing |
| subjects | African American culture African Americans African Americans in motion pictures African Americans in movies Black militancy Evaluation Film music Film noir Films noirs Influence Jazz Jazz music Military history Motion picture criticism Motion pictures Movies Music Musicians Nightclubs Patriarchy Protagonists Singers Singing Social activism Theaters & cinemas |
| title | Jazz and Cocktails: Reassessing the White and Black Mix in Film Noir |
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