13 Re-making Frida Kahlo through song in Frida
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Deborah Shaw
Abstract
Frida Kahlo is probably the best known Latin American artist and a great deal has been written about her cult status, which began to emerge in the United States in the 1980s and has continued to the present day. There have also been a number of studies of the film Frida, directed by Julie Taymor and starring Salma Hayek. This chapter aims to demonstrate that the film attempts to refashion both an 'authentic' and an accessible Frida Kahlo for international consumption. It analyses the role of original compositions and pre-existing songs in this endeavour. The chapter considers the way that forms of representation in Frida have important implications for the ongoing reconfiguration of US identity, with a particular focus on the sizeable Latino population of the United States. It explores the film's use of well-known 'Mexican' singers Chavela Vargas and Lila Downs, and analyses their specific function within the narrative.
Abstract
Frida Kahlo is probably the best known Latin American artist and a great deal has been written about her cult status, which began to emerge in the United States in the 1980s and has continued to the present day. There have also been a number of studies of the film Frida, directed by Julie Taymor and starring Salma Hayek. This chapter aims to demonstrate that the film attempts to refashion both an 'authentic' and an accessible Frida Kahlo for international consumption. It analyses the role of original compositions and pre-existing songs in this endeavour. The chapter considers the way that forms of representation in Frida have important implications for the ongoing reconfiguration of US identity, with a particular focus on the sizeable Latino population of the United States. It explores the film's use of well-known 'Mexican' singers Chavela Vargas and Lila Downs, and analyses their specific function within the narrative.
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
