4 El otro lado de la cama
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Nuria Triana Toribio
Abstract
In 2002, when Emilio Martínez-Lázaro's El otro lado de la cama was released and became one of the biggest box-office successes of the year, the Partido Popular (PP), in power since 1996, was in its second term. Whether El otro lado deserves a place in a possible canon of Spanish cinema is not a matter for lengthy consideration, given that many scholars still need to be persuaded that anything of intrinsic or lasting cultural value can be achieved by canon-making. But before exploring such contradictions this chapter considers the putative place in the imaginary canon that this film should hold. Reflecting the diversity of contemporary Spanish cinema, the musical comedy, El otro lado is the low culture counterpart to the highbrow Soldados de Salamina, a literary adaptation of a prestigious novel which tries to bridge the gap between the two sides of the Civil War.
Abstract
In 2002, when Emilio Martínez-Lázaro's El otro lado de la cama was released and became one of the biggest box-office successes of the year, the Partido Popular (PP), in power since 1996, was in its second term. Whether El otro lado deserves a place in a possible canon of Spanish cinema is not a matter for lengthy consideration, given that many scholars still need to be persuaded that anything of intrinsic or lasting cultural value can be achieved by canon-making. But before exploring such contradictions this chapter considers the putative place in the imaginary canon that this film should hold. Reflecting the diversity of contemporary Spanish cinema, the musical comedy, El otro lado is the low culture counterpart to the highbrow Soldados de Salamina, a literary adaptation of a prestigious novel which tries to bridge the gap between the two sides of the Civil War.
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
