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.

中文翻译：

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无故叛乱：《狂野的一面》中贝波普的歪曲表现

摘要：《野蛮人》（The Wild One）于1953年发行，其特征是诺曼·梅勒（Norman Mailer）后来将其称为“白色黑人”的原型。我认为这部电影的白人潮人形象借鉴了1940年代政治上流行的波普音乐中的耸人听闻的生活方式元素，使黑人音乐不堪一面，并将叛乱的艺术表现描绘为对美国保守价值观的威胁。在此过程中，本文将电影的被遗忘的遗产分析为有害的文化占用之一。如今，由于电影对时尚的贡献而受到最多的研究，该电影最初用于加剧白人观众对焦虑，反社会和越轨少年行为的担忧。