Blackface, White Noise: The Jewish Jazz Singer Finds His Voice Author(s): Michael Rogin Reviewed work(s): Source: Critical Inquiry, Vol. 18, No. 3 (Spring, 1992), pp. 417-453 Published by: The University of Chicago Press Stable URL: http://www.jstor.org/stable/1343811 . Accessed: 27/01/2012 17:36 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to Critical Inquiry. http://www.jstor.org Blackface, White Noise: The Jewish Jazz Singer Finds His Voice Michael Rogin 1. Movies and the Black Question Each transformative moment in the history of American film has founded itself on the surplus symbolic value of blacks, the power to make African Americans stand for something besides themselves. There have been four such moments. Edwin S. Porter's Uncle Tom's Cabin (1903), bringing the most performed theatrical spectacle of the late nineteenth century into the movies, marked the transition from popular theater to motion pictures that characterized the prehistory of classic Hollywood cinema. The most lavish and expensive film to date, and the first to use intertitles, Uncle Tom'sCabin was the first extended movie narrative with a black character and, therefore, since African Americans were forbidden to play African Americans in serious, dramatic roles, the first substantial blackface film.