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ePub Jazz Noir: Listening to Music from Phantom Lady to The Last Seduction download

by David Butler

ePub Jazz Noir: Listening to Music from Phantom Lady to The Last Seduction download
Author:
David Butler
ISBN13:
978-0275973018
ISBN:
0275973018
Language:
Publisher:
Praeger; First Edition /First Printing edition (March 30, 2002)
Category:
Subcategory:
Music
ePub file:
1827 kb
Fb2 file:
1966 kb
Other formats:
lrf txt azw lit
Rating:
4.6
Votes:
184

Jazz has been associated with crime and immorality since early forms of the music were heard in the brothels of. .This is a welcome study of the various conjunctions of jazz and film noir. Butler both sees and hears well, and his cogent descriptions are convincing

Jazz has been associated with crime and immorality since early forms of the music were heard in the brothels of New Orleans and the gangster-owned clubs of the 1920s. This association encouraged the use of jazz in film noir. Butler both sees and hears well, and his cogent descriptions are convincing. He does not just round up the usual suspects but treats a number of films less often discussed by either film or music scholars and critics. He puts his topic in context, discussing racism in Hollywood and the narrowness of Hollywood executives' conceptualization of jazz and jazz musicians.

Butler, David, 1974-. Books for People with Print Disabilities. Trent University Library Donation. Internet Archive Books. Uploaded by station07. cebu on June 8, 2019. SIMILAR ITEMS (based on metadata). Terms of Service (last updated 12/31/2014).

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Jazz has been associated with crime and immorality since early forms of the music were heard in the brothels of New Orleans and the gangster-owned clubs of the 1920s. This association encouraged the use of jazz in film noir, a genre preoccupied with tales of anxiety and urban decay, which flourished in American cinema during the postwar period. This association encouraged the use of jazz in film noir, a genre preoccupied with ta. Specifications. Assembled Product Dimensions (L x W x H). 8 x . 4 x . 7 Inches. Get specific details about this product from customers who own it. Back. Policies & Plans.

2002) Jazz Noir: listening to music from Phantom Lady to The Last Seduction. Greenwood Publishing Group, ISBN 0-275-97301-8, p. 136. ^ a b c Kemp 1991, p. 147. ^ a b c Naremore, James (July 6, 2010). Sweet Smell of Success: A BFI Film Classic. British Film Institute.

Personal Name: Butler, David, 1974-. Publication, Distribution, et. Westport, Conn. On this site it is impossible to download the book, read the book online or get the contents of a book. The administration of the site is not responsible for the content of the site. The data of catalog based on open source database. All rights are reserved by their owners. Download book Jazz noir : listening to music from Phantom lady to The last seduction, David Butler. "Riders on the Storm: My Life with Jim Morrison and the Doors – John Densmore – Google Books". Retrieved September 15, 2013. Fox, Margalit (September 12, 2013). Fred Katz, Who Married Cello to Jazz, Dies at 94". The New York Times.

Jazz Noir: Listening to Music from Phantom Lady to The Last Seduction David Butler Sınırlı önizleme - 2002

Jazz Noir: Listening to Music from Phantom Lady to The Last Seduction David Butler Sınırlı önizleme - 2002. The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue Daniel Fischlin,Ajay Heble Önizleme Yok - 2004. Tüm Kitap Arama sonuçları Yazar hakkında (2002). Richard Cook has contributed to NME, the Wire, and the Sunday Times(London). Brian Morton is the author of a number of books, as well as a regular broadcaster and host of BBC Radio 3's Impressions.

Jazz has been associated with crime and immorality since early forms of the music were heard in the brothels of New Orleans and the gangster-owned clubs of the 1920s. This association encouraged the use of jazz in film noir, a genre preoccupied with tales of anxiety and urban decay, which flourished in American cinema during the postwar period. Yet, although the extent and nature of this collaboration has often been alluded to, it has rarely been examined in detail. Making significant use of archival sources and documentation, Jazz Noir seeks to correct this oversight, placing the films discussed in their proper historical context and utilizing an interdisciplinary approach that gives equal weight to the films―including such notables as Phantom Lady, I Want to Live!, and Taxi Driver―and to the indelible music that accompanied them.

In so doing, it corrects a great many misunderstandings about this complex, ideologically tinged relationship. Television noirs of the 1950s and 1960s, as well as the cinematic neo-noirs of the 1990s, have used jazz and jazz-flavored music extensively, thus giving rise to the misconception that the genre and the musical style were always intertwined. But as author David Butler reveals, it was only when modern jazz had a number of prominent white exponents that it gained any kind of exposure in Hollywood cinema, and even then such exposure was limited. Nevertheless, the broad range of jazz styles was well suited to the broad range of films noir, and the historical approach Butler takes gives due weight to such considerations. The film noir of the 1940s are as different from the film noir of the 1950s as the jazz of the 1940s is from the jazz of the 1950s, and Jazz Noir provides a unique and valuable study of a rich aesthetic synergy.