عنوان

Artistry in noir :

شماره

TLets515501

عنوان اصلي

Artistry in noir :

نام عام مواد

[Thesis]

نام نخستين پديدآور

Butler, David George

عنوان اصلي به قلم نويسنده ديگر

the use and representation of jazz in film noir

نام ناشر، پخش کننده و غيره

The University of Manchester

تاریخ نشرو بخش و غیره

2000

جزئيات پايان نامه و نوع درجه آن

Ph.D.

کسي که مدرک را اعطا کرده

The University of Manchester

امتياز متن

2000

متن يادداشت

Jazz has been associated with crime and immorality since early forms of the musicwere heard in. the brothels of New Orleans and the gangster-owned clubs of the "JazzAge. " This association encouraged the use of jazz in film noir: tales of anxiety andurban decay that flourished in American cinema during the 1940s and 1950s. Yet, theextent to which jazz was used in film noir is the source of some confusion. Thecollaboration between the two idioms has often been alluded to but seldom exploredin detail. Contemporary noirs, such as Body Heat (1981) and the series Fallen Angels(1993), have used jazz to evoke the classic period of film noir thus contributing to a"retrospective illusion" of the relationship between these idioms. Literature whichrefers to this relationship tends to discuss jazz and film noir in general rather thandistinguishing between widely differing styles and periods of production. This lack ofspecificity, particularly regarding jazz, has resulted in considerable misunderstanding.This thesis seeks to determine the true extent of the involvement of jazz with film noirand why it has often been "taken for granted. " The thesis adopts an interdisciplinaryapproach that incorporates film theory, specifically work concerned with racial andgender discourses, sociology and music history. Beginning with a discussion of therelevant literature, the thesis suggests that the association of jazz with the noir themesof sex, crime and immorality stems from an understanding of black culture as beingexpressive of primitivism and irrationality that was prevalent in white imperialistideologies of the eighteenth and nineteenth centuries. Although contemporary writingand film noirs often refer to the modernist jazz style of bebop, which emerged in themid-1940s at the same time as film noir, as the sound of the classic noir period, thethesis suggests that prevailing racial attitudes and conventions of 1940s film meantthat the fundamentally black and intellectual nature of bebop could not be representedin noir of this time.The thesis places the films discussed in their historical context and makesconsiderable use of archival sources and documentation for extended studies ofPhantom Lady (1944), Young Man with a Horn (1950) and I Want To Live! (1958).The tensions created by the involvement of jazz in these productions become moreevident as a result of this archival material. The emergence of the jazz or jazz inflectedscore in films of the 1950s is examined as is the proliferation of jazz scoresin television noir of the late 1950s and early 1960s. The penultimate chapterconsiders the use of jazz in neo-noirs of the last twenty-five years, particularly TaxiDriver (1976) and The Last Seduction (1994), before offering thoughts for furtherwork and a summary of the thesis in the conclusion

مستند نام اشخاص تاييد نشده

Butler, David George

مستند نام تنالگان تاييد نشده

The University of Manchester

نام الکترونيکي

فرمت انتشار

p

نوع ماده

[Thesis]

کد کاربرگه

276903

سطح دسترسي

a

تكميل شده

Y