Bibliographic record and links to related information available from the Library of Congress catalog. Note: Contents data are machine generated based on pre-publication information provided by the publisher. Contents may have variations from the printed book or be incomplete or contain other coding.
Contents Acknowledgments Introduction: Sarah in Wonderland I. Black Magic, Disembodied One. Marlon Brando's Jazz Acting and the Obsolescence of Blackface Two. Borrowing Black Masculinity: Dirty Harry Finds His Gentle Side Three. Passing Tones: The Talented Mr. Ripley and Pleasantville II. Serving the White Audience Four. The Racial Displacements of Ransom and Fargo Five. Black Angels in America: Millennial Solutions to the "Race Problem" III. Unrepresentable Subjects Six. Evidence: Thelonious Monk's Challenge to Jazz History Seven. Revenge of the Nerds: Representing the White Male Collector of Black Music IV. Black Magic, Inverted Eight. Robert Altman's Jazz History Lesson Nine. Spike Lee Meets Aaron Copland Conclusion Notes Works Cited Index
Library of Congress Subject Headings for this publication: African Americans in motion pictures, Jazz in motion pictures, Motion pictures United States, Motion pictures and music, Motion picture music History and criticism