Abstract
Benny Goodman’s “Sing Sing Sing” has been used in a number of films since its first recording. Examining these filmic uses reveals the manner in which period music accumulates meanings. Furthermore, it gives us greater understanding of the roles pre-existing music plays in narrative filmmaking.
The text of this article is only available as a PDF.
Copyright 2017 by the Board of Trustees of the University of Illinois
2017
You do not currently have access to this content.