Citation

Holbrook MB. J. Consum. Behav. 2007; 6(6): 398-418.

Copyright

(Copyright © 2007, John Wiley and Sons)

DOI

10.1002/cb.230

PMID

unavailable

Abstract

The theme of art-versus-commerce has surfaced in many motion pictures but serves here to juxtapose three otherwise disparate films that draw upon the power of jazz as a force toward the dramatic development of character, plot, central themes, and other cinemusical meanings. Specifically, via the significance of its ambi-diegetic music, New York, New York (1977) shows the elevation of artistic integrity (Robert De Niro as Jimmy Doyle) over commercialism (Liza Minnelli as Francine Evans). In Heart Beat (1980), the raw honesty of a committed-but-doomed creative genius (Art Pepper) provides nondiegetic music that signifies the self-destructive degradation of a key protagonist (Nick Nolte as Neal Cassady). Finally, in The Score (2001), the appealing nature of diegetic jazz in a cinemusically-enriched nightclub environment helps to explain why a soon-to-be- reformed criminal (Robert De Niro, again, as Nick Wells) would risk everything in collaboration with two bizarre partners (Marlon Brando as Max Baron and Ed Norton as Jack Teller) in hopes of a payoff big enough to allow him to retire from a lucrative career in crime in order to run his legitimate jazz venue and to settle down with his true love (Angela Bassett as Diane Boesman). Copyright © 2007 John Wiley & Sons, Ltd.