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La construcción de las identidades racializadas en el cine musical hollywoodense

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Abstract 

This paper aims to critically approach the cinematographic representation of famed jazz singer Billie Holiday in the short film Symphony in Black (Fred Waller, 1935) and in the film New Orleans (Arthur Lubin, 1947). Specifically, we will focus on the analysis of the racial and gender stereotypes assigned to the filmic image and musical interpretations of the artist, which will provide the keys to undertstanding the dynamics of rejection and desire that exist behind the construction of “blackness” developed by the Hollywood musical cinema of the 1930s and 1940s.

Key words 

Billie Holiday, racism, stereotype, negritude, musical cinema.

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