Search engine for discovering works of Art, research articles, and books related to Art and Culture
ShareThis
Javascript must be enabled to continue!

The Vanishing Love Song in Film Noir

View through CrossRef
This chapter examines the racial contradictions engendered by the presence of African American musicians in Jacques Tourneur's Out of the Past (1947) and Fritz Lang's The Blue Gardenia (1953). The title song in The Blue Gardenia sheds light on a problem common to Tourneur's and Lang's film: the subtextual association of black musical performance with the dark side of the human psyche. In other words, if the Harlem jazz scene in Out of the Past presages the materialization of the “black widow,” Kathie Moffat (Jane Greer), Nat King Cole's rendition of “Blue Gardenia” musically implicates the “wrong woman,” Norah Larkin (Anne Baxter), and, by extension, the real culprit, Rose Miller (Ruth Storey). Thus, diegetic black music in both films acts as the clue to the “mystery,” a stereotypical one that speaks volumes about the intimate, fraught connection between classic noir and black popular-musical performance.
University of Illinois Press
Title: The Vanishing Love Song in Film Noir
Description:
This chapter examines the racial contradictions engendered by the presence of African American musicians in Jacques Tourneur's Out of the Past (1947) and Fritz Lang's The Blue Gardenia (1953).
The title song in The Blue Gardenia sheds light on a problem common to Tourneur's and Lang's film: the subtextual association of black musical performance with the dark side of the human psyche.
In other words, if the Harlem jazz scene in Out of the Past presages the materialization of the “black widow,” Kathie Moffat (Jane Greer), Nat King Cole's rendition of “Blue Gardenia” musically implicates the “wrong woman,” Norah Larkin (Anne Baxter), and, by extension, the real culprit, Rose Miller (Ruth Storey).
Thus, diegetic black music in both films acts as the clue to the “mystery,” a stereotypical one that speaks volumes about the intimate, fraught connection between classic noir and black popular-musical performance.

Related Results

Encyclopedia of Film Noir
Encyclopedia of Film Noir
When viewers think of film noir, they often picture actors like Humphrey Bogart playing characters like Sam Spade in The Maltese Falcon, the film based on the book by Dashiell Hamm...
Love and its Place in Virtue
Love and its Place in Virtue
Abstract The fundamental claim of the book is that love is central to virtue. Beginning with an account of love it argues that there are many criteria for love which...
Moral Psychology of Love
Moral Psychology of Love
Under what circumstances can love generate moral reasons for action? Are there morally appropriate ways to love? Can an occurrence of love or a failure to love constitute a moral f...
Robert Pippin and Film
Robert Pippin and Film
Robert Pippin (1948- ) is a major figure in contemporary philosophy, having published influential work on thinkers including Kant, Hegel, and Nietzsche. He is also an original thin...
Song of Songs
Song of Songs
Relationships are a wonderful, mysterious, often elusive, sometimes painful part of the human experience. The most intimate of all human relationships, according to the Bible, is t...
Liturgical love
Liturgical love
The topic of this chapter is liturgical enactments as manifestations of love. A distinction is drawn between two forms of love that Jesus enjoined: neighbor love, and Christ-like f...
Mixed Feelings
Mixed Feelings
Since the late eighteenth century, writers and thinkers have used the idea of love—often unrequited or impossible love—to comment on the changing cultural, social, and political po...
The Woman on Pier 13
The Woman on Pier 13
Part one of this chapter examines the production history of The Woman on Pier 13 to highlight the ideological mutability of the film’s ostensible, “right-wing” agenda, one endorsed...

Back to Top