3 Bien pagá
-
Eric M. Thau
Abstract
Pedro Almodóvar's use of music has been duly noted as an essential element of his filmic vision since his films were first analysed in the early 1980s. This chapter focuses on the use of popular song in Almodóvar's films. The use of music in Almodóvar's early films represents a nexus between the director's undeniable affection and nostalgia for the popular culture of the Francoist Spain of his childhood and adolescence, and the camp/kitsch attitude developed within the gay/punk underground, which became la movida. Almodóvar chose the version of exiled Republican Miguel Molina rather than that of some folclórico (folk singer) within the Spain of Franco in keeping with the director's postmodern punk ethos. The opening strains of Miguel Molina singing 'La Bien pagá' can be heard in the background during their 'lovemaking' but the film quickly cuts to an odd image.
Abstract
Pedro Almodóvar's use of music has been duly noted as an essential element of his filmic vision since his films were first analysed in the early 1980s. This chapter focuses on the use of popular song in Almodóvar's films. The use of music in Almodóvar's early films represents a nexus between the director's undeniable affection and nostalgia for the popular culture of the Francoist Spain of his childhood and adolescence, and the camp/kitsch attitude developed within the gay/punk underground, which became la movida. Almodóvar chose the version of exiled Republican Miguel Molina rather than that of some folclórico (folk singer) within the Spain of Franco in keeping with the director's postmodern punk ethos. The opening strains of Miguel Molina singing 'La Bien pagá' can be heard in the background during their 'lovemaking' but the film quickly cuts to an odd image.
Chapters in this book
- 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
Chapters in this book
- 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
