ABSTRACT 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.
- Views Icon Views
- Share Icon Share
- Search Site
ELIZABETH ABEL; Shadows. Representations 1 November 2003; 84 (1): 166–199. doi: https://doi.org/10.1525/rep.2003.84.1.166
Download citation file: