Shadows
Bibliographic Data
| ID | 4852709 |
|---|---|
| Authors | Elizabeth Abel (corresponding author) |
| Year | 2003 |
| Volume | 84 |
| Issue | 1 |
| Pages | 166-199 |
| Publication date | 2003-11-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Representations (JOURNAL) |
| Journal identifiers | ISSN: 0734-6018 • E-ISSN: 1533-855X |
| Publisher | University of California Press (PUBLISHER • US) |
| DOI | 10.1525/rep.2003.84.1.166 |
| OpenAlex | W4251810121 |
| Language | EN |
| Citations received | 2 |
| References cited | 2 |
This essay traces the relationship of Hollywood blackface to the figure of the shadow in the moving and still pictures of the 1930s. By reading Fred Astaire's Swing Time (1936) against Al Jolson's The Jazz Singer (1927), I argue that the shadow linked the breakthroughs in thirties cinematography with a distinctively Protestant variant of cinematic blackface
Art · Art history · Blackface · Cinematography · Hollywood · Jazz · Literature · Protestantism · Psychoanalysis · Swing · Visual arts · Cinema and Media Studies · Literature, Film, and Journalism Analysis · Philosophy · Photography and Visual Culture · Psychology · Religious studies
| Unique citing works | 2 |
|---|---|
| Citations per year | 0,17 |
| Citation span | 2014 - 2023 (10) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 2 |