ABSTRACT
After many years of dormancy, the jazz film appears to have returned to vibrant life with such titles as Whiplash (2014), Miles Ahead (2015), Born to be Blue (2015), and La La Land (2016). Reading these movies in the context of the history of the genre of jazz film, I argue, however, that what these films celebrate is not jazz’s present as a living art but its past, its afterlife.
