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100%: Krin Gabbard: Jammin′ at the Margins – Jazz & the American Cinema (Paper) (ISBN: 9780226277899) University of Chicago Press, United States of America, in Englisch, Taschenbuch.Nur diese Ausgabe anzeigen…
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73%: By (author) Krin Gabbard: Jammin' at the Margins: Jazz and the American Cinema (Paperback) - Common (ISBN: 0884183672755) 1996, University of Chicago Press, Taschenbuch.Nur diese Ausgabe anzeigen…
Jammin′ at the Margins – Jazz & the American Cinema (Paper)
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1
Jammin' at the Margins
EN NWISBN: 9780226277899 bzw. 0226277895, in Englisch, University of Chicago Press, United States of America, neu.
Lieferung aus: Vereinigtes Königreich Großbritannien und Nordirland, in-stock.
American cinema has long been fascinated by jazz and jazz musicians. Yet most jazz films aren't really about jazz. Rather, as Krin Gabbard shows, they create images of racial and sexual identity, many of which have become inseparable from popular notions of the music itself. In Jammin' at the Margins, Gabbard scrutinizes these films, exploring the fundamental obsessions that American culture has brought to jazz in the cinema. Gabbard's close look at jazz film biographies, from The Jazz Singer to Bird, reveals Hollywood's reluctance to acknowledge black subjectivity. Black and even white jazz artists have become vehicles for familiar Hollywood conceptions of race, gender, and sexuality. Even Scorsese's New York, New York and Spike Lee's Mo' Better Blues have failed to disentangle themselves from entrenched stereotypes and conventions. Gabbard also examines Hollywood's confrontation with jazz as an elite art form, and the role of the jazz trumpet as a crucial signifier of masculinity. Finally, he considers the acting careers of Louis Armstrong, Nat King Cole, and Hoagy Carmichael; Duke Ellington's extraordinary work in films from 1929 until the late 1960s; and the forgotten career of Kay Kyser, star of nine Hollywood films and leader of a popular swing band. This insightful look at the marriage of jazz and film is a major contribution to film, jazz, and cultural studies.
American cinema has long been fascinated by jazz and jazz musicians. Yet most jazz films aren't really about jazz. Rather, as Krin Gabbard shows, they create images of racial and sexual identity, many of which have become inseparable from popular notions of the music itself. In Jammin' at the Margins, Gabbard scrutinizes these films, exploring the fundamental obsessions that American culture has brought to jazz in the cinema. Gabbard's close look at jazz film biographies, from The Jazz Singer to Bird, reveals Hollywood's reluctance to acknowledge black subjectivity. Black and even white jazz artists have become vehicles for familiar Hollywood conceptions of race, gender, and sexuality. Even Scorsese's New York, New York and Spike Lee's Mo' Better Blues have failed to disentangle themselves from entrenched stereotypes and conventions. Gabbard also examines Hollywood's confrontation with jazz as an elite art form, and the role of the jazz trumpet as a crucial signifier of masculinity. Finally, he considers the acting careers of Louis Armstrong, Nat King Cole, and Hoagy Carmichael; Duke Ellington's extraordinary work in films from 1929 until the late 1960s; and the forgotten career of Kay Kyser, star of nine Hollywood films and leader of a popular swing band. This insightful look at the marriage of jazz and film is a major contribution to film, jazz, and cultural studies.
2
Jammin' at the Margins
EN NWISBN: 9780226277882 bzw. 0226277887, in Englisch, University of Chicago Press, United States of America, neu.
Lieferung aus: Vereinigtes Königreich Großbritannien und Nordirland, in-stock.
American cinema has long been fascinated by jazz and jazz musicians. Yet most jazz films aren't really about jazz. Rather, as Krin Gabbard shows, they create images of racial and sexual identity, many of which have become inseparable from popular notions of the music itself. In Jammin' at the Margins, Gabbard scrutinizes these films, exploring the fundamental obsessions that American culture has brought to jazz in the cinema. Gabbard's close look at jazz film biographies, from The Jazz Singer to Bird, reveals Hollywood's reluctance to acknowledge black subjectivity. Black and even white jazz artists have become vehicles for familiar Hollywood conceptions of race, gender, and sexuality. Even Scorsese's New York, New York and Spike Lee's Mo' Better Blues have failed to disentangle themselves from entrenched stereotypes and conventions. Gabbard also examines Hollywood's confrontation with jazz as an elite art form, and the role of the jazz trumpet as a crucial signifier of masculinity. Finally, he considers the acting careers of Louis Armstrong, Nat King Cole, and Hoagy Carmichael; Duke Ellington's extraordinary work in films from 1929 until the late 1960s; and the forgotten career of Kay Kyser, star of nine Hollywood films and leader of a popular swing band. This insightful look at the marriage of jazz and film is a major contribution to film, jazz, and cultural studies.
American cinema has long been fascinated by jazz and jazz musicians. Yet most jazz films aren't really about jazz. Rather, as Krin Gabbard shows, they create images of racial and sexual identity, many of which have become inseparable from popular notions of the music itself. In Jammin' at the Margins, Gabbard scrutinizes these films, exploring the fundamental obsessions that American culture has brought to jazz in the cinema. Gabbard's close look at jazz film biographies, from The Jazz Singer to Bird, reveals Hollywood's reluctance to acknowledge black subjectivity. Black and even white jazz artists have become vehicles for familiar Hollywood conceptions of race, gender, and sexuality. Even Scorsese's New York, New York and Spike Lee's Mo' Better Blues have failed to disentangle themselves from entrenched stereotypes and conventions. Gabbard also examines Hollywood's confrontation with jazz as an elite art form, and the role of the jazz trumpet as a crucial signifier of masculinity. Finally, he considers the acting careers of Louis Armstrong, Nat King Cole, and Hoagy Carmichael; Duke Ellington's extraordinary work in films from 1929 until the late 1960s; and the forgotten career of Kay Kyser, star of nine Hollywood films and leader of a popular swing band. This insightful look at the marriage of jazz and film is a major contribution to film, jazz, and cultural studies.
3
Jammin' at the Margins: Jazz and the American Cinema (1929)
EN NWISBN: 9780226277899 bzw. 0226277895, in Englisch, University of Chicago Press, neu.
Lieferung aus: Vereinigtes Königreich Großbritannien und Nordirland, 3-5 Days.
American cinema has long been fascinated by jazz and jazz musicians. Yet most jazz films aren't really about jazz. Rather, as Krin Gabbard shows, they create images of racial and sexual identity, many of which have become inseparable from popular notions of the music itself. In this work, Gabbard scrutinizes these films, exploring the fundamental obsessions that American culture has brought to jazz in the cinema. Gabbard's close look at jazz film biographies, from The Jazz Singer to Bird , reveals Hollywood's reluctance to acknowledge black subjectivity. Black and even white jazz artists have become vehicles for familiar Hollywood conceptions of race, gender and sexuality. Even Scorsese's New York, New York and Spike Lee's Mo' Better Blues have failed to disentangle themselves from entrenched stereotypes and conventions. Gabbard also examines Hollywood's confrontation with jazz as an elite art form, and the role of the jazz trumpet as a crucial signifier of masculinity. Finally, he considers the acting careers of Louis Armstrong, Nat King Cole and Hoagy Carmichael; Duke Ellington's extraordinary work in films from 1929 until the late 1960s; and the forgotten career of Kay Kyser, star of nine Hollywood films and leader of a popular swing band.
American cinema has long been fascinated by jazz and jazz musicians. Yet most jazz films aren't really about jazz. Rather, as Krin Gabbard shows, they create images of racial and sexual identity, many of which have become inseparable from popular notions of the music itself. In this work, Gabbard scrutinizes these films, exploring the fundamental obsessions that American culture has brought to jazz in the cinema. Gabbard's close look at jazz film biographies, from The Jazz Singer to Bird , reveals Hollywood's reluctance to acknowledge black subjectivity. Black and even white jazz artists have become vehicles for familiar Hollywood conceptions of race, gender and sexuality. Even Scorsese's New York, New York and Spike Lee's Mo' Better Blues have failed to disentangle themselves from entrenched stereotypes and conventions. Gabbard also examines Hollywood's confrontation with jazz as an elite art form, and the role of the jazz trumpet as a crucial signifier of masculinity. Finally, he considers the acting careers of Louis Armstrong, Nat King Cole and Hoagy Carmichael; Duke Ellington's extraordinary work in films from 1929 until the late 1960s; and the forgotten career of Kay Kyser, star of nine Hollywood films and leader of a popular swing band.
4
Jammin' at the Margins: Jazz and the American Cinema
EN USISBN: 0226277887 bzw. 9780226277882, in Englisch, University Of Chicago Press, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, In Stock.
arts music and photography,home and garden,history and criticism,humor and entertainment,jazz,movies,music,musical genres,theory, American cinema has long been fascinated by jazz and jazz musicians. Yet most jazz films aren't really about jazz. Rather, as Krin Gabbard shows, they create images of racial and sexual identity, many of which have become inseparable from popular notions of the music itself. In Jammin' at the Margins, Gabbard scrutinizes these films, exploring the fundamental obsessions that American culture has brought to jazz in the cinema.Gabbard's close look at jazz film biographies, from The Jazz Singer to Bird, reveals Hollywood's reluctance to acknowledge black subjectivity. Black and even white jazz artists have become vehicles for familiar Hollywood conceptions of race, gender, and sexuality. Even Scorsese's New York, New York and Spike Lee's Mo' Better Blues have failed to disentangle themselves from entrenched stereotypes and conventions.Gabbard also examines Hollywood's confrontation with jazz as an elite art form, and the role of the jazz trumpet as a crucial signifier of masculinity. Finally, he considers the acting careers of Louis Armstrong, Nat King Cole, and Hoagy Carmichael; Duke Ellington's extraordinary work in films from 1929 until the late 1960s; and the forgotten career of Kay Kyser, star of nine Hollywood films and leader of a popular swing band.This insightful look at the marriage of jazz and film is a major contribution to film, jazz, and cultural studies.
arts music and photography,home and garden,history and criticism,humor and entertainment,jazz,movies,music,musical genres,theory, American cinema has long been fascinated by jazz and jazz musicians. Yet most jazz films aren't really about jazz. Rather, as Krin Gabbard shows, they create images of racial and sexual identity, many of which have become inseparable from popular notions of the music itself. In Jammin' at the Margins, Gabbard scrutinizes these films, exploring the fundamental obsessions that American culture has brought to jazz in the cinema.Gabbard's close look at jazz film biographies, from The Jazz Singer to Bird, reveals Hollywood's reluctance to acknowledge black subjectivity. Black and even white jazz artists have become vehicles for familiar Hollywood conceptions of race, gender, and sexuality. Even Scorsese's New York, New York and Spike Lee's Mo' Better Blues have failed to disentangle themselves from entrenched stereotypes and conventions.Gabbard also examines Hollywood's confrontation with jazz as an elite art form, and the role of the jazz trumpet as a crucial signifier of masculinity. Finally, he considers the acting careers of Louis Armstrong, Nat King Cole, and Hoagy Carmichael; Duke Ellington's extraordinary work in films from 1929 until the late 1960s; and the forgotten career of Kay Kyser, star of nine Hollywood films and leader of a popular swing band.This insightful look at the marriage of jazz and film is a major contribution to film, jazz, and cultural studies.
5
Jammin′ at the Margins – Jazz & the American Cinema (Paper) (1996)
EN PB USISBN: 9780226277899 bzw. 0226277895, in Englisch, 362 Seiten, University of Chicago Press, Taschenbuch, gebraucht.
New from: INR 2,706.00 (6 Offers)
Used from: INR 1,874.06 (1 Offers)
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Von Händler/Antiquariat, Fast Media 2.
American cinema has long been fascinated by jazz and jazz musicians. Yet most jazz films aren't really about jazz. Rather, as Krin Gabbard shows, they create images of racial and sexual identity, many of which have become inseparable from popular notions of the music itself. In this work, Gabbard scrutinizes these films, exploring the fundamental obsessions that American culture has brought to jazz in the cinema. Gabbard's close look at jazz film biographies, from "The Jazz Singer" to "Bird", reveals Hollywood's reluctance to acknowledge black subjectivity. Black and even white jazz artists have become vehicles for familiar Hollywood conceptions of race, gender and sexuality. Even Scorsese's "New York, New York" and Spike Lee's "Mo' Better Blues" have failed to disentangle themselves from entrenched stereotypes and conventions. Gabbard also examines Hollywood's confrontation with jazz as an elite art form, and the role of the jazz trumpet as a crucial signifier of masculinity. Finally, he considers the acting careers of Louis Armstrong, Nat King Cole and Hoagy Carmichael; Duke Ellington's extraordinary work in films from 1929 until the late 1960s; and the forgotten career of Kay Kyser, star of nine Hollywood films and leader of a popular swing band. Paperback, Edition: New edition, Format: Import, Label: University of Chicago Press, University of Chicago Press, Product group: Book, Published: 1996-06-06, Studio: University of Chicago Press.
Von Händler/Antiquariat, Fast Media 2.
American cinema has long been fascinated by jazz and jazz musicians. Yet most jazz films aren't really about jazz. Rather, as Krin Gabbard shows, they create images of racial and sexual identity, many of which have become inseparable from popular notions of the music itself. In this work, Gabbard scrutinizes these films, exploring the fundamental obsessions that American culture has brought to jazz in the cinema. Gabbard's close look at jazz film biographies, from "The Jazz Singer" to "Bird", reveals Hollywood's reluctance to acknowledge black subjectivity. Black and even white jazz artists have become vehicles for familiar Hollywood conceptions of race, gender and sexuality. Even Scorsese's "New York, New York" and Spike Lee's "Mo' Better Blues" have failed to disentangle themselves from entrenched stereotypes and conventions. Gabbard also examines Hollywood's confrontation with jazz as an elite art form, and the role of the jazz trumpet as a crucial signifier of masculinity. Finally, he considers the acting careers of Louis Armstrong, Nat King Cole and Hoagy Carmichael; Duke Ellington's extraordinary work in films from 1929 until the late 1960s; and the forgotten career of Kay Kyser, star of nine Hollywood films and leader of a popular swing band. Paperback, Edition: New edition, Format: Import, Label: University of Chicago Press, University of Chicago Press, Product group: Book, Published: 1996-06-06, Studio: University of Chicago Press.
6
Jammin' at the Margins: Jazz and the American Cinema
EN USISBN: 0226277895 bzw. 9780226277899, in Englisch, University Of Chicago Press, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, In Stock.
arts music and photography,home and garden,history and criticism,humor and entertainment,jazz,movies,music,musical genres,performing arts,theory, American cinema has long been fascinated by jazz and jazz musicians. Yet most jazz films aren't really about jazz. Rather, as Krin Gabbard shows, they create images of racial and sexual identity, many of which have become inseparable from popular notions of the music itself. In Jammin' at the Margins, Gabbard scrutinizes these films, exploring the fundamental obsessions that American culture has brought to jazz in the cinema.Gabbard's close look at jazz film biographies, from The Jazz Singer to Bird, reveals Hollywood's reluctance to acknowledge black subjectivity. Black and even white jazz artists have become vehicles for familiar Hollywood conceptions of race, gender, and sexuality. Even Scorsese's New York, New York and Spike Lee's Mo' Better Blues have failed to disentangle themselves from entrenched stereotypes and conventions.Gabbard also examines Hollywood's confrontation with jazz as an elite art form, and the role of the jazz trumpet as a crucial signifier of masculinity. Finally, he considers the acting careers of Louis Armstrong, Nat King Cole, and Hoagy Carmichael; Duke Ellington's extraordinary work in films from 1929 until the late 1960s; and the forgotten career of Kay Kyser, star of nine Hollywood films and leader of a popular swing band.This insightful look at the marriage of jazz and film is a major contribution to film, jazz, and cultural studies.
arts music and photography,home and garden,history and criticism,humor and entertainment,jazz,movies,music,musical genres,performing arts,theory, American cinema has long been fascinated by jazz and jazz musicians. Yet most jazz films aren't really about jazz. Rather, as Krin Gabbard shows, they create images of racial and sexual identity, many of which have become inseparable from popular notions of the music itself. In Jammin' at the Margins, Gabbard scrutinizes these films, exploring the fundamental obsessions that American culture has brought to jazz in the cinema.Gabbard's close look at jazz film biographies, from The Jazz Singer to Bird, reveals Hollywood's reluctance to acknowledge black subjectivity. Black and even white jazz artists have become vehicles for familiar Hollywood conceptions of race, gender, and sexuality. Even Scorsese's New York, New York and Spike Lee's Mo' Better Blues have failed to disentangle themselves from entrenched stereotypes and conventions.Gabbard also examines Hollywood's confrontation with jazz as an elite art form, and the role of the jazz trumpet as a crucial signifier of masculinity. Finally, he considers the acting careers of Louis Armstrong, Nat King Cole, and Hoagy Carmichael; Duke Ellington's extraordinary work in films from 1929 until the late 1960s; and the forgotten career of Kay Kyser, star of nine Hollywood films and leader of a popular swing band.This insightful look at the marriage of jazz and film is a major contribution to film, jazz, and cultural studies.
7
Jammin' at the Margins : Jazz and the American Cinema
EN PB USISBN: 9780226277899 bzw. 0226277895, in Englisch, University of Chicago Press, Taschenbuch, gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, In Stock.
9780226277899,0226277895,jammin,margins,jazz,american,cinema,krin,gabbard, Excellent Marketplace listings for "Jammin' at the Margins : Jazz and the American Cinema" by Krin Gabbard starting as low as $4.94! Paperback, Shipping to USA only!
9780226277899,0226277895,jammin,margins,jazz,american,cinema,krin,gabbard, Excellent Marketplace listings for "Jammin' at the Margins : Jazz and the American Cinema" by Krin Gabbard starting as low as $4.94! Paperback, Shipping to USA only!
8
Jammin' at the Margins: Jazz and the American Cinema (Paperback) - Common (1996)
DE PB NWEAN: 0884183672755, in Deutsch, University of Chicago Press, Taschenbuch, neu.
Lieferung aus: Deutschland, Versandfertig in 1 - 2 Werktagen, plus shipping (if shipped).
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Von Händler/Antiquariat, IrisMaru.
Die Beschreibung dieses Angebotes ist von geringer Qualität oder in einer Fremdsprache. Trotzdem anzeigen
9
Jammin' at the Margins: Jazz and the American Cinema (Paperback) - Common (1996)
PB NWEAN: 0884183672755, Sprache unbekannt, 362 Seiten, University of Chicago Press, Taschenbuch, neu.
New from: $41.93 (4 Offers)
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Von Händler/Antiquariat, Brendons.
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Von Händler/Antiquariat, Brendons.
Die Beschreibung dieses Angebotes ist von geringer Qualität oder in einer Fremdsprache. Trotzdem anzeigen
10
Jammin' at the Margins: Jazz and the American Cinema
EN HC NWISBN: 9780226277882 bzw. 0226277887, in Englisch, University of Chicago Press, gebundenes Buch, neu.
Lieferung aus: Vereinigte Staaten von Amerika, In Stock.
Jammin-at-the-Margins~~Krin-Gabbard, Jammin' at the Margins: Jazz and the American Cinema, Hardcover.
Jammin-at-the-Margins~~Krin-Gabbard, Jammin' at the Margins: Jazz and the American Cinema, Hardcover.
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