Carl Franklin’s well-known film, Devil in a Blue Dress (1995), has been discussed, praised, and analyzed in a variety of illuminating ways. Scholars have, for example, written about this work’s efforts to use neo-noir to explore race, making it film noir with a difference; they have noted its distinction from earlier African-American films noirs through its thoughtful use of history as well as alternative urban settings; and they have observed its exploration of the tangled intersectional nuances concerning gender and race (e.g. Berrettini, 1999; Flory, 2008; Guerrero, 1996 & 1998; Naremore, 2008; Nieland, 1999; Oliver and Trigo, 2003; Shefrin, 2005; Voss, 1998). However, one underexplored dimension of this work is its considerable and significant use of disgust, especially its use of socio-moral disgust. In the critical literature about Devil in a Blue Dress, the crucial and recurrent invocation of this powerful affect is hardly even mentioned.¹ In order to address this lacuna in the scholarship, as well extend an ongoing theoretical argument regarding the many complicated relations between race and disgust in general, I first outline a helpful way in which disgust has been theorized to operate in cinema; then, after providing a plot summary, I apply this outline to Franklin’s film. I follow these sections with a discussion concerning why such an analysis should be seen as worth our time to grasp, mull, and ponder. I conclude with some broader remarks pertaining to the relations between art, race, moral change, and moral revolution.

中文翻译：

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卡尔·富兰克林的《蓝裙恶魔》中的厌恶、种族和意识形态

卡尔·富兰克林 (Carl Franklin) 的著名电影《穿蓝色连衣裙的恶魔》( Devil in a Blue Dress ) (1995) 以各种富有启发性的方式进行了讨论、赞扬和分析。例如，学者们写过这部作品努力利用新黑色来探索种族，使其黑色电影与众不同。他们注意到它与早期的非裔美国人黑色电影的区别通过对历史的深思熟虑以及替代的城市环境；他们已经观察到它探索了有关性别和种族的错综复杂的交叉细微差别（例如 Berrettini，1999；Flory，2008；Guerrero，1996 和 1998；Naremore，2008；Nieland，1999；Oliver 和 Trigo，2003；Shefrin，2005；Voss , 1998)。然而，这项工作的一个未被充分探索的方面是它对厌恶的大量和重要的使用，特别是它对社会道德厌恶的使用。在关于穿蓝裙的魔鬼的批评文献中，几乎没有提到对这种强大情感的关键和反复调用。¹为了解决学术上的这个空白，以及扩展关于种族与一般厌恶之间的许多复杂关系的正在进行的理论论证，我首先概述了一种有用的方法，即厌恶在电影中被理论化；然后，在提供了情节概要之后，我将这个大纲应用到富兰克林的电影中。我在这些部分之后讨论了为什么这样的分析应该被视为值得我们花时间去掌握、思考和思考。最后，我就艺术、种族、道德变革和道德革命之间的关系发表了一些更广泛的评论。