9 Sound moves
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Isabel Santaolalla
Abstract
This chapter presents a study of Cosas que dejé en La Habana, focusing on the way music is used in a film mainly concerned with questions of immigration and cultural allegiance. Directed by one of Spain's foremost filmmakers, Cosas is one of the films that have addressed the plight of foreigners seeking to make their home in Spain. The mainly favourable critical reception of Cosas's portrayal of immigrant Cuban life in Spain often mentioned Gutiérrez Aragón's Cuban family ties and the input of the Cuban scenarist Senel Paz. The use of Cuban actors added authenticity to the film, something further endorsed in Jorge Perugorría's description of it as 'my most Cuban Spanish film'. In Cosas percussive sounds are often used to prepare the viewer for affirmations or memories of Cuba.
Abstract
This chapter presents a study of Cosas que dejé en La Habana, focusing on the way music is used in a film mainly concerned with questions of immigration and cultural allegiance. Directed by one of Spain's foremost filmmakers, Cosas is one of the films that have addressed the plight of foreigners seeking to make their home in Spain. The mainly favourable critical reception of Cosas's portrayal of immigrant Cuban life in Spain often mentioned Gutiérrez Aragón's Cuban family ties and the input of the Cuban scenarist Senel Paz. The use of Cuban actors added authenticity to the film, something further endorsed in Jorge Perugorría's description of it as 'my most Cuban Spanish film'. In Cosas percussive sounds are often used to prepare the viewer for affirmations or memories of Cuba.
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
