Toward a Theory of Cinematic Detachment; or, The Beauty of John Coltrane.
This study offers a sustained engagement with Amiri Baraka's liner notes for the album Live at Birdland (1964) by John Coltrane. In doing so, it aims to demonstrate how Baraka's encounter with the track "Alabama" enacts a uniquely cinematic form of detachment that refuses the regulatory given of rac...
| Publicado en: | Liquid Blackness: Journal of Aesthetics & Black Studies Vol. 10; no. 1; pp. 72 - 90 |
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| Formato: | Artículo |
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Duke University Press
Apr2026
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=194432432&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 194432432 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 26923874 MU50 jtl: Liquid Blackness: Journal of Aesthetics & Black Studies issn: 26923874 maglogo: N pubinfo: dt: Apr2026 vid: 10 iid: 1 pid: 71750 pub: Duke University Press artinfo: ui: 194432432 10.1215/26923874-12244608 ppf: 72 ppct: 18 formats: tig: atl: Toward a Theory of Cinematic Detachment; or, The Beauty of John Coltrane. aug: au: Mushinski, Matthias Domingo su: Black music Coltrane, John, 1926-1967 Musical composition Saxophonists Baraka, Amiri, 1934-2014 Aesthetics Visual perception Violence against Black people Sound recordings sug: subj: Black music Coltrane, John, 1926-1967 Musical composition Saxophonists Baraka, Amiri, 1934-2014 Aesthetics Visual perception Violence against Black people Sound recordings keyword: beauty detachment ensemble John Coltrane montage ab: This study offers a sustained engagement with Amiri Baraka's liner notes for the album Live at Birdland (1964) by John Coltrane. In doing so, it aims to demonstrate how Baraka's encounter with the track "Alabama" enacts a uniquely cinematic form of detachment that refuses the regulatory given of racial violence as a precondition for the beauty of black music. Of key interest throughout is how montage organizes thought; or, more precisely, how cinematic perception may very well precede thought in a manner that makes thinking without cinema impossible. Thus, what this article is after, and what its author senses in Baraka's liner notes, is an illicit invocation of montage beyond cinematic jurisdiction; something like a movement of thought that foregrounds the cut as a site of insurgent detachment that the cinematic does not permit, but no less makes possible. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2026 holdings: @attributes: islocal: N |
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