Transcendance et aliénation : le musicien de jazz noir dans Bird et Mo’ Better Blues

Contenu

Transcendance et aliénation : le musicien de jazz noir dans Bird et Mo’ Better Blues
Revue Française d'Etudes Américaines
57
275-282
1993
fre
0397-7870
Clint Eastwood's Bird and Spike Lee's Mo' Better Blues exemplify distinctive approaches to the Black jazz performer motif. Eastwood's is an idealized discourse on a properly American art form whereas Lee sees jazz as a metaphor of the African-American experience. The protagonists of both films typify specific relations between transcendence and alienation. Charlie Parker embodies the tragic interplay of aesthetic creation and self-destruction, and Bleek Gilliam the solipsism which isolates the artist from his community
1
rfea
10.3406/rfea.1993.1505
Transcendance et aliénation
2019-12-03T15:52:56Z
DOI.org (Crossref)