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savage or the comical crazy Indian, which still informs McLintock! (1963, dir. Andrew V. McLaglen) to a certain extent, post-war films began to ascribe individual features to Native Americans, while also showing how, in the glorious story of westward expansion, their role was that of the victim, a vanishing race that was swept away as collateral damage by industrialisation, which forged the future of a prosperous America. This idea of the ‘Vanishing American’ (the phrase became commonly used after the title of a 1925 silent film, directed by George B. Seitz
’s Othello figure, who can thus be accepted as a perfect representative of royalty within jazz society. 15 By the time of the creation of this film, Dearden and Relph had collaborated on plenty of projects, and as Alan Burton and Tim O’Sullivan claim, ‘a consistent theme in [their] post-war films concerns male characters forced to confront painful adjustment to new circumstances and changing social norms and expectations’. 16 Many of these films observe ‘a tragic dimension, whereby the narratives result either in the death of the main male protagonist or a significant
the dark, post-war film from Czechoslovakia, Jirí Weiss’s Romeo, Julia a tma (1960), variously named in English Romeo, Juliet and Darkness and Bright Light in a Dark Room . The title itself picks its imagery and theme from Shakespeare’s play, which, as Caroline Spurgeon pointed out as long ago as 1935, is full of references to light (especially associated with Juliet) and