Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

1 results

  • 19 - Love, Theft, and Transcendence

  • from Part V - Images and Screens
  • Edited by Michael Borshuk, Texas Tech University
  • Book:
    Jazz and American Culture
    Published online:
    09 November 2023
    Print publication:
    30 November 2023, pp 291-304

  • Summary

    Race has always been a central issue in discussions of jazz. A history of the representation of jazz in the American cinema is, in many ways, a history of the representation of African Americans, including their struggle to overcome oppression from whites. But as the title of this paper suggests, jazz is one of several aspects of American culture which has delighted white people and inspired them to appropriate– or to steal– the music of Black people. Many of the early jazz films were built around the white swing orchestras and their followers. In the 1940s and 1950s, biopics told the stories of white jazz artists. Biopics of black artists appeared in the 1960s and later. More recently, jazz has been celebrated as an art that allows musicians and audiences to ascend to a higher plane.