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Film's Musical Moments$
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Ian Conrich and Estella Tincknell

Print publication date: 2006

Print ISBN-13: 9780748623440

Published to Edinburgh Scholarship Online: March 2012

DOI: 10.3366/edinburgh/9780748623440.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 19 September 2021

Jazz, Ideology and the Animated Cartoon

Jazz, Ideology and the Animated Cartoon

(p.16) (p.17) 2 Jazz, Ideology and the Animated Cartoon
Film's Musical Moments

Barry Keith Grant

Edinburgh University Press

This chapter explores the emergence of the jazz cartoon of the 1930s and 1940s. Although jazz has had a significant presence in the movies from the arrival of sound onwards (during ‘the jazz age’ itself in the late 1920s) its ideological connotations have been a source of struggle and considerable tensions, especially around race. Hollywood's casting of ‘sweet’ – that is mainstream – jazz as primarily a white musical form in feature films such as The King of Jazz (1930) is problematically paralleled by the use of ‘hot’ jazz in animated cartoons such as Jungle Jive (1944), in which racist stereotypes of black men as sexually predatory ‘zip coons’ preying on white women prevail. Rather than dismissing such films as ephemeral because of their status as programme fillers, this chapter argues that they were often the site of an aggressively asserted insistence on black primitivism in which jazz is the primary signifier.

Keywords:   Hollywood, jazz, animated cartoons, films, race, The King of Jazz, Jungle Jive, black men, white women, black primitivism

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