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Page numbers in italics indicate illustrations. Abbott, George, 12 Advertising Code, 31 Affair in Trinidad, 100 African Americans: in Blues in the Night, 30–31; in Casablanca, 183–84n2; as musicians, 133, 147–48; in Round Midnight, 162 Aldrich, Robert, 4, 134 Alexander, William D., 68 Algiers, 72 All Night Long, 146 All That Jazz, 150–52, 170 Amiel, Jon, 158–59 An American in Paris, 90, 102 Angels with Dirty Faces, 19, 139 antiheroes: in Blues in the Night, 27–28; in noir musicals, 2; in Paris Blues, 147; in A Star Is Born, 1; struggles of, 106; visual conventions of film noir and, 5; in West Side Story, 138 antitrust decision, 77–78 Applause, 2, 11, 12 Arlen, Harold: Blues in the Night and, 28, 30; Cabin in the Sky, 40, 184; Casbah and, 72; “Over the Rainbow,” 18; Road House and, 73; A Star Is Born and, 110, 112; Stormy Weather, 40, 184; Young at Heart and, 122 Armstrong, Louis, 16, 37, 41, 69, 99, 147 The Asphalt Jungle, 95 Astaire, Fred, 16, 18, 102 Bacall, Lauren: The Big Sleep and, 43, 47–48; Bogart and, 54; in films noir, 9; To Have and Have Not and, 52, 54; musical numbers of, 47; Young Man with a Horn and, 37, 92, 93 Ballad in Blue, 146 The Band Wagon, 88, 102, 102 The Barefoot Contessa, 104–5 bebop, 68–69 Beiderbecke, Bix, 92, 112 Bergman, Ingrid, 16 Berkeley, Busby, 14–15, 16 Berlin, Irving, 57 Bernstein, Leonard: “A Day in New York” ballet of, 90; as blacklisted, 96; Popular Front politics and, 71; West Side Story, 135–37, 140, 143 Berry, John, 71–72, 96, 199n30 Biberman, Herbert, 69, 70, 71, 96 The Bicycle Thief, 79, 80, 161–62 big band music, 28, 30, 33–34 The Big Combo, 58, 103 The Big Heat, 134 The Big Lebowski, 146, 167 The Big Sleep: Bacall in, 43, 47–48; description of, 9; Bogart and, 48; as film noir, 134; Gilda and, 58, 60; jazz in, 43, 47–48; misogynistic violence in, 48; music of, 37; as stockpiled, 64; WWII and, 39 biopics, musicals, 67, 92, 122–25, 165, 186 Bird, 165 Birth of the Blues, 16, 43 Black and Tan, 44 black and white films, 145 Black Angel, 2, 46, 62–64, 63 blacklisting, 96, 130, 148 Black Swan, 146, 172 Black Widow, 103 Blanke, Henry, 20, 22, 24, 31, 118, 121, 134 Blondell, Joan, 15 Index 204 i nde x Blonde Venus, 13, 52 The Blue Angel, 13 The Blue Dahlia, 3, 134 Blues in the Night, 20–41; Black Angel and, 62; categorization of, 2, 3, 8; Cover Girl and, 50; as deconstruction of musical ideals, 25–28; Jailhouse Rock and, 131; legacy of, 36–38, 40–41, 46, 146, 174–75; Love Me or Leave Me and, 123; music in, 28–34; New Orleans and, 69, 70; origins of, 21–23; Pete Kelly’s Blues and, 126, 127; plot of, 20–21; publicity stills, 27, 33; reception of, 35–36; release and critique of, 34–35; Round Midnight and, 160, 161; style and production of, 23–25; theme of, 9; wartime and, 18–19; West Side Story and, 138; Young Man with a Horn and, 92 Bogart, Humphrey: Bacall and, 54; The Barefoot Contessa and, 104–5; The Big Sleep and, 48; Dead Reckoning and, 46, 47; death of, 130; in films noir, 9; To Have and Have Not and, 53, 54; Jammin’ the Blues and, 44; The Maltese Falcon and, 35; The Roaring Twenties and, 17 Bolero, 2, 16 Bonnie and Clyde, 146 Brackett, Leigh, 46 Brahm, John, 17 Brando, Marlon, 80 Breen, Joseph, 23, 55, 59, 60, 79, 84–85, 103 Broadway, 2, 12, 179–80 Broadway Melody, 10 Broadway through a Keyhole, 14 Brother Orchid, 19 Bryant, Marie, 74 Cabaret, 148–50 The Cabinet of Dr. Caligari, 12, 55 Cagney, James, 12, 15, 17, 123, 124 Carmichael, Hoagy, 9, 53, 54, 92 Carné, Marcel, 17 Casablanca, 9, 15, 19, 37–38, 48, 74, 146 Casbah, 71–72 censorship: of Blues in the Night, 23; of Christmas Holiday, 57; crime milieu and, 123; easing of, 79, 103, 134; evasion of, 48; of Gilda, 58–60; Office of War Information and, 36; of Phantom Lady, 55; of The Red Shoes, 84–85; replacement of, 146; of Serenade, 134; of Sweet Smell of Success, 129; of To Have and Have Not, 53; of juvenile delinquency films, 139–40; of violence during WWII, 19...

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Additional Information

ISBN
9781421408392
Related ISBN
9781421408385
MARC Record
OCLC
965168304
Pages
224
Launched on MUSE
2016-12-06
Language
English
Open Access
No
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