Banana Skirts and Cherry Moons: Utopic French Myths in Prince's Under the Cherry Moon

Paisley Park is in your heart, or perhaps in France? Prince's second feature film, Under the Cherry Moon, takes place in the south of France—but the geographic situating of the film reaches far beyond a homegrown Minnesotan's dream of palm trees, sunshine, and balmy Mediterranean weather....

Ausführliche Beschreibung

Bibliographische Detailangaben
Veröffentlicht in:Spectrum: A Journal on Black Men. - Indiana University Press, 2018. - 7(2020), 2, Seite 27-61
1. Verfasser: Turman, Karen (VerfasserIn)
Format: Online-Aufsatz
Sprache:English
Veröffentlicht: 2020
Zugriff auf das übergeordnete Werk:Spectrum: A Journal on Black Men
Schlagworte:Arts Behavioral sciences Social sciences Business
LEADER 01000caa a22002652 4500
001 JST136640141
003 DE-627
005 20240625205652.0
007 cr uuu---uuuuu
008 240105s2020 xx |||||o 00| ||eng c
035 |a (DE-627)JST136640141 
035 |a (JST)spectrum.7.2.03 
040 |a DE-627  |b ger  |c DE-627  |e rakwb 
041 |a eng 
100 1 |a Turman, Karen  |e verfasserin  |4 aut 
245 1 0 |a Banana Skirts and Cherry Moons: Utopic French Myths in Prince's Under the Cherry Moon 
264 1 |c 2020 
336 |a Text  |b txt  |2 rdacontent 
337 |a Computermedien  |b c  |2 rdamedia 
338 |a Online-Ressource  |b cr  |2 rdacarrier 
520 |a Paisley Park is in your heart, or perhaps in France? Prince's second feature film, Under the Cherry Moon, takes place in the south of France—but the geographic situating of the film reaches far beyond a homegrown Minnesotan's dream of palm trees, sunshine, and balmy Mediterranean weather. The cinematic aesthetics and themes of the film reveal a more acute transcription of a Paisley Park utopia defined by freedom of oppression based on class, race, and gender. The film's visuals echo jazz age entertainment reminiscent of performances by the Nicholas Brothers, the Berry Brothers, and Josephine Baker from the 1920s through the 1940s. The French locale adds yet another layer to the equation: during the interwar years, Paris became a haven for Black entertainers, artists, and intellectuals who discovered an almost utopian experience in comparison to the violent racism in the US. This essay examines class, race, and gender in Under the Cherry Moon through comparative analysis of Black writers and entertainers during the Harlem Renaissance and the French fetishization of Black American expatriates. In addition to Josephine Baker's performances and legacy, this study will consider Claude McKay's Banjo (1929), a narrative reevaluating Blackness and contextualizing the ideals of the Harlem Renaissance in the south of France. Overall, this essay will critically analyze the philosophical and sociocultural underpinnings of Prince's underappreciated Under the Cherry Moon and, in turn, further examine cinema as a medium to communicate social engagement. 
540 |a © 2020 Trustees of Indiana University and Ohio State University 
650 4 |a Arts  |x Performing arts  |x Music  |x Music genres  |x Popular music  |x Jazz 
650 4 |a Behavioral sciences  |x Anthropology  |x Ethnology  |x Ethnography  |x American studies  |x African American studies  |x African American culture 
650 4 |a Social sciences  |x Population studies  |x Human populations  |x Persons  |x Foreign residents  |x Expatriates 
650 4 |a Behavioral sciences  |x Anthropology  |x Ethnology  |x Ethnic groups  |x American minorities  |x African Americans 
650 4 |a Business  |x Industry  |x Industrial sectors  |x Manufacturing industries  |x Consumer goods industries  |x Clothing industry  |x Clothing  |x Womens apparel  |x Skirts 
650 4 |a Behavioral sciences  |x Psychology  |x Personality psychology  |x Psychological attitudes  |x Prejudices  |x Racism 
650 4 |a Behavioral sciences  |x Anthropology  |x Ethnology  |x Ethnography  |x American studies  |x African American studies  |x African American literature  |x Harlem Renaissance literature 
650 4 |a Behavioral sciences  |x Sociology  |x Human societies  |x Social groups  |x Communities  |x Black communities 
650 4 |a Arts  |x Performing arts  |x Music  |x Musical performance  |x Music ensembles  |x Musical bands 
650 4 |a Social sciences  |x Communications  |x Narratives  |x ARTICLES 
650 4 |a Arts  |x Performing arts  |x Music  |x Music genres  |x Popular music  |x Jazz 
650 4 |a Behavioral sciences  |x Anthropology  |x Ethnology  |x Ethnography  |x American studies  |x African American studies  |x African American culture 
650 4 |a Social sciences  |x Population studies  |x Human populations  |x Persons  |x Foreign residents  |x Expatriates 
650 4 |a Behavioral sciences  |x Anthropology  |x Ethnology  |x Ethnic groups  |x American minorities  |x African Americans 
650 4 |a Business  |x Industry  |x Industrial sectors  |x Manufacturing industries  |x Consumer goods industries  |x Clothing industry  |x Clothing  |x Womens apparel  |x Skirts 
650 4 |a Behavioral sciences  |x Psychology  |x Personality psychology  |x Psychological attitudes  |x Prejudices  |x Racism 
650 4 |a Behavioral sciences  |x Anthropology  |x Ethnology  |x Ethnography  |x American studies  |x African American studies  |x African American literature  |x Harlem Renaissance literature 
650 4 |a Behavioral sciences  |x Sociology  |x Human societies  |x Social groups  |x Communities  |x Black communities 
650 4 |a Arts  |x Performing arts  |x Music  |x Musical performance  |x Music ensembles  |x Musical bands 
650 4 |a Social sciences  |x Communications  |x Narratives 
655 4 |a research-article 
773 0 8 |i Enthalten in  |t Spectrum: A Journal on Black Men  |d Indiana University Press, 2018  |g 7(2020), 2, Seite 27-61  |w (DE-627)72818205X  |w (DE-600)2687517-2  |x 21623252  |7 nnns 
773 1 8 |g volume:7  |g year:2020  |g number:2  |g pages:27-61 
856 4 0 |u https://www.jstor.org/stable/10.2979/spectrum.7.2.03  |3 Volltext 
912 |a GBV_USEFLAG_A 
912 |a SYSFLAG_A 
912 |a GBV_JST 
912 |a GBV_ILN_11 
912 |a GBV_ILN_20 
912 |a GBV_ILN_22 
912 |a GBV_ILN_24 
912 |a GBV_ILN_31 
912 |a GBV_ILN_39 
912 |a GBV_ILN_40 
912 |a GBV_ILN_60 
912 |a GBV_ILN_62 
912 |a GBV_ILN_63 
912 |a GBV_ILN_65 
912 |a GBV_ILN_70 
912 |a GBV_ILN_100 
912 |a GBV_ILN_101 
912 |a GBV_ILN_110 
912 |a GBV_ILN_120 
912 |a GBV_ILN_285 
912 |a GBV_ILN_374 
912 |a GBV_ILN_702 
912 |a GBV_ILN_1200 
912 |a GBV_ILN_2001 
912 |a GBV_ILN_2003 
912 |a GBV_ILN_2005 
912 |a GBV_ILN_2006 
912 |a GBV_ILN_2007 
912 |a GBV_ILN_2008 
912 |a GBV_ILN_2009 
912 |a GBV_ILN_2010 
912 |a GBV_ILN_2011 
912 |a GBV_ILN_2014 
912 |a GBV_ILN_2015 
912 |a GBV_ILN_2018 
912 |a GBV_ILN_2020 
912 |a GBV_ILN_2021 
912 |a GBV_ILN_2026 
912 |a GBV_ILN_2027 
912 |a GBV_ILN_2044 
912 |a GBV_ILN_2050 
912 |a GBV_ILN_2056 
912 |a GBV_ILN_2057 
912 |a GBV_ILN_2061 
912 |a GBV_ILN_2107 
912 |a GBV_ILN_2190 
912 |a GBV_ILN_2875 
912 |a GBV_ILN_2949 
912 |a GBV_ILN_2950 
912 |a GBV_ILN_4012 
912 |a GBV_ILN_4035 
912 |a GBV_ILN_4037 
912 |a GBV_ILN_4046 
912 |a GBV_ILN_4112 
912 |a GBV_ILN_4126 
912 |a GBV_ILN_4242 
912 |a GBV_ILN_4251 
912 |a GBV_ILN_4305 
912 |a GBV_ILN_4307 
912 |a GBV_ILN_4322 
912 |a GBV_ILN_4323 
912 |a GBV_ILN_4325 
912 |a GBV_ILN_4335 
912 |a GBV_ILN_4346 
912 |a GBV_ILN_4393 
912 |a GBV_ILN_4700 
951 |a AR 
952 |d 7  |j 2020  |e 2  |h 27-61