Rebellion Without a Cause: Distorted Representations of Bebop in The Wild One

Abstract

:The Wild One, released in 1953, features a prototype of what Norman Mailer would later call the “white Negro.” I argue that the film's representation of white hipsters, which borrows sensationalized lifestyle elements from politically charged 1940s bebop music, vilifies black music and portrays the artistic expression of rebellion as a threat to conservative American values. In so doing, this essay analyzes the overlooked legacy of the film as one of harmful cultural appropriation. Mostly studied today for its contributions to fashion, the film initially served to exacerbate the anxieties of white audiences fearful of antisocial and deviant juvenile behavior.