12 Dancing in the dark
-
Peter William Evans
Abstract
Carlos Saura has made some of the most striking musicals in the recent history of Spanish cinema. Through the flamenco-ised music of Bizet's opera, Carmen offered vintage Saura: gender, the relations between the sexes, the rival claims of love and art, the blurred contours of fantasy and reality, the sabotage of chronology. These are all there in Tango. Carmen's Laura Del Sol in Tango is Mia Maestro. Tango was the brainchild of the Argentinian producer Juan Carlos Codazzi. As a co-production made largely for commercial reasons to exploit markets in Spain and Argentina, Tango inevitably also has a bifocal thematic focus. While some Spanish/Latin American coproductions, as Isabel Santaolalla and others have argued, are motivated by various agendas, such as a desire to counteract the processes of cultural stereotype, Tango provides an opportunity for mutual exploration of compatible histories.
Abstract
Carlos Saura has made some of the most striking musicals in the recent history of Spanish cinema. Through the flamenco-ised music of Bizet's opera, Carmen offered vintage Saura: gender, the relations between the sexes, the rival claims of love and art, the blurred contours of fantasy and reality, the sabotage of chronology. These are all there in Tango. Carmen's Laura Del Sol in Tango is Mia Maestro. Tango was the brainchild of the Argentinian producer Juan Carlos Codazzi. As a co-production made largely for commercial reasons to exploit markets in Spain and Argentina, Tango inevitably also has a bifocal thematic focus. While some Spanish/Latin American coproductions, as Isabel Santaolalla and others have argued, are motivated by various agendas, such as a desire to counteract the processes of cultural stereotype, Tango provides an opportunity for mutual exploration of compatible histories.
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
