AfroModernist Subversion of Film Noir Conventions in John Lewis' Scores to Sait-on Jamais (1957) and Odds Against Tomorrow (1959)

摘要

The idea that jazz in film noir scores of the 1950s functions exclusively as a deviance trigger has recently been challenged through the identification of jazz imbued symphonic scoring and brief moments of improvization pitted against positive narrative strains in the form. So far, this analysis has focused on trends emerging between films in the context of a developing noir movement. This article seeks to broaden critical debate, demonstrating how John Lewis' reliance on vernacular-based improvization as accompaniment to scenes of varying content in the films Sait-on Jamais (1957) and Odds Against Tomorrow (1959) overlaps with the composer's established vernacular preservation strategies enacted in the wake of the 1940s big band decline. Such findings suggest that expanded vernacular presence in the genre, at least in the case of these films, may result from a more complex array of influences than previously assumed.View full textDownload full textRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/08145857.2012.681619