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364 American Music, f all 2014 blackness, and sexual violence in movies whose source music miklitsch at one point (136) describes as reconfiguring “the traumatic terrain of postwar mas- culinity”—not least in that it typically featured women performers. Did these performances aid or subvert these singers’ subordination to the dark, patriarchal, and violent narratives of noir? o n balance, he suggests that they could subvert, when the women being framed as “femme fatale” sirens were freed from their cages by orchestral or band accompaniment to move and dance as they sang, in ways that disrupted the regressive narratives of their “containment.” These are big issues, and one comes through the tangled alleys and badly lit byways of Siren City convinced of that fact and eager to reach for the DVD player. m iklitsch is at times an infuriating guide and companion in this largely anti-r omantic noir world, but his knowledge and enthusiasm are impressive and infectious. I hope that that is taken as a recommendation, to set alongside the health warning. Peter f ranklin St. Catherine’s College, Oxford Dangerous Rhythm: Why Movie Musicals Matter. b y r ichard b arrios. New York: o xford u niversity Press, 2014.
American Music – University of Illinois Press
Published: Apr 17, 2015
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