1 Singing of dubious desire
-
Ann Davies
Abstract
As a result of her success as a singer, and subsequently as a leading actress in Spanish folkloric films of the 1930s and 1940s, Imperio Argentina became a grande dame of Spanish cinema. It is not only the general storyline that reminds us of Argentina's earlier film, but also plot details such as the fact that a German version of the film was made alongside the Spanish one, with German actors and directed by a character called Maisch. La niña also features the song 'Los piconeros', in both Spanish and German: the same song that formed a centrepiece of Carmen, la de Triana. If in order to perform her part as Carmen in both films Argentina learned German especially for the occasion, in La niña her fictional counterpart Macarena Granada (played by Penélope Cruz) demonstrates her own skills with her German dialogue and lyrics, which she learnt phonetically.
Abstract
As a result of her success as a singer, and subsequently as a leading actress in Spanish folkloric films of the 1930s and 1940s, Imperio Argentina became a grande dame of Spanish cinema. It is not only the general storyline that reminds us of Argentina's earlier film, but also plot details such as the fact that a German version of the film was made alongside the Spanish one, with German actors and directed by a character called Maisch. La niña also features the song 'Los piconeros', in both Spanish and German: the same song that formed a centrepiece of Carmen, la de Triana. If in order to perform her part as Carmen in both films Argentina learned German especially for the occasion, in La niña her fictional counterpart Macarena Granada (played by Penélope Cruz) demonstrates her own skills with her German dialogue and lyrics, which she learnt phonetically.
Kapitel in diesem Buch
- Front matter i
- Contents v
- List of figures vii
- Contributors ix
- Acknowledgements xvi
- Introduction 1
- 1 Singing of dubious desire 17
- 2 Voicing gender 30
- 3 Bien pagá 51
- 4 El otro lado de la cama 66
- 5 On the function of punk aesthetics in Salto al vacío and Historias del Kronen 83
- 6 Mobile soundscapes in the quinqui film 98
- 7 Song-shaped cinema 114
- 8 Travelling song 134
- 9 Sound moves 151
- 10 The Afro-Cuban soundscape of Mexico City 167
- 11 Blues traveller 189
- 12 Dancing in the dark 206
- 13 Re-making Frida Kahlo through song in Frida 220
- 14 ‘Silence! Fado is about to be sung’ 235
- 15 Sounds from Brazil 249
- 16 Soundtrack to roguery 264
- 17 The Brazilian chanchada’s musical moments and the performance of identity 283
- 18 Orpheus in Babylon 298
- Index 315
Kapitel in diesem Buch
- Front matter i
- Contents v
- List of figures vii
- Contributors ix
- Acknowledgements xvi
- Introduction 1
- 1 Singing of dubious desire 17
- 2 Voicing gender 30
- 3 Bien pagá 51
- 4 El otro lado de la cama 66
- 5 On the function of punk aesthetics in Salto al vacío and Historias del Kronen 83
- 6 Mobile soundscapes in the quinqui film 98
- 7 Song-shaped cinema 114
- 8 Travelling song 134
- 9 Sound moves 151
- 10 The Afro-Cuban soundscape of Mexico City 167
- 11 Blues traveller 189
- 12 Dancing in the dark 206
- 13 Re-making Frida Kahlo through song in Frida 220
- 14 ‘Silence! Fado is about to be sung’ 235
- 15 Sounds from Brazil 249
- 16 Soundtrack to roguery 264
- 17 The Brazilian chanchada’s musical moments and the performance of identity 283
- 18 Orpheus in Babylon 298
- Index 315
