CinesonidosCinesonidos



Cinesonidos: Film Music and National Identity During Mexico's Época de oro endeavors to fill this gap. I do not attempt to provide a complete history of film music in Mexico or a history of the prominent film composers.

Author: Jacqueline Avila

Publisher: Oxford University Press

ISBN: 9780190671334

Category:

Page: 392

View: 115

During Mexico's silent (1896-1930) and early sound (1931-52) periods, cinema saw the development of five significant genres: the prostitute melodrama (including the cabaretera subgenre), the indigenista film (on indigenous themes or topics), the cine de añoranza porfiriana (films of Porfirian nostalgia), the Revolution film, and the comedia ranchera (ranch comedy). In this book, author Jacqueline Avila looks at examples from all genres, exploring the ways that the popular, regional, and orchestral music in these films contributed to the creation of tropes and archetypes now central to Mexican cultural nationalism. Integrating primary source material--including newspaper articles, advertisements, films--with film music studies, sound studies, and Mexican film and cultural history, Avila examines how these tropes and archetypes mirrored changing perceptions of mexicanidad manufactured by the State and popular and transnational culture. As she shows, several social and political agencies were heavily invested in creating a unified national identity in an attempt to merge the previously fragmented populace as a result of the Revolution. The commercial medium of film became an important tool to acquaint a diverse urban audience with the nuances of Mexican national identity, and music played an essential and persuasive role in the process. In this heterogeneous environment, cinema and its music continuously reshaped the contested, fluctuating space of Mexican identity, functioning both as a sign and symptom of social and political change.

Choreographing MexicoChoreographing Mexico



Avila, Cinesonidos, 170–171. 99. See Ruiz for a discussion of how the zapateado has evolved, using this film sequence as one case study and translating it to Labanotation. Ruiz, “Writing Down the Jarabe Tapatío, from Tradition to ...

Author: Manuel R. Cuellar

Publisher: University of Texas Press

ISBN: 9781477325186

Category:

Page: 462

View: 612

The years between 1910 and 1940 were formative for Mexico, with the ouster of Porfirio Díaz, the subsequent revolution, and the creation of the new state. Amid the upheaval, Mexican dance emerged as a key arena of contestation regarding what it meant to be Mexican. Through an analysis of written, photographic, choreographic, and cinematographic renderings of a festive Mexico, Choreographing Mexico examines how bodies in motion both performed and critiqued the nation. Manuel Cuellar details the integration of Indigenous and regional dance styles into centennial celebrations, civic festivals, and popular films. Much of the time, this was a top-down affair, with cultural elites seeking to legitimate a hegemonic national character by incorporating traces of indigeneity. Yet dancers also used their moving bodies to challenge the official image of a Mexico full of manly vigor and free from racial and ethnic divisions. At home and abroad, dancers made nuanced articulations of female, Indigenous, Black, and even queer renditions of the nation. Cuellar reminds us of the ongoing political significance of movement and embodied experience, as folklórico maintains an important and still-contested place in Mexican and Mexican American identity today.

CinesonidosCinesonidos



In this book, author Jacqueline Avila looks at examples from all genres, exploring the ways that the popular, regional, and orchestral music in these films contributed to the creation of tropes and archetypes now central to Mexican cultural ...

Author: Jaqueline Avila

Publisher: Oxford University Press, USA

ISBN: 9780190671303

Category:

Page: 289

View: 309

During Mexico's silent (1896-1930) and early sound (1931-52) periods, cinema saw the development of five significant genres: the prostitute melodrama (including the cabaretera subgenre), the indigenista film (on indigenous themes or topics), the cine de añoranza porfiriana (films of Porfirian nostalgia), the Revolution film, and the comedia ranchera (ranch comedy). In this book, author Jacqueline Avila looks at examples from all genres, exploring the ways that the popular, regional, and orchestral music in these films contributed to the creation of tropes and archetypes now central to Mexican cultural nationalism. Integrating primary source material--including newspaper articles, advertisements, films--with film music studies, sound studies, and Mexican film and cultural history, Avila examines how these tropes and archetypes mirrored changing perceptions of mexicanidad manufactured by the State and popular and transnational culture. As she shows, several social and political agencies were heavily invested in creating a unified national identity in an attempt to merge the previously fragmented populace as a result of the Revolution. The commercial medium of film became an important tool to acquaint a diverse urban audience with the nuances of Mexican national identity, and music played an essential and persuasive role in the process. In this heterogeneous environment, cinema and its music continuously reshaped the contested, fluctuating space of Mexican identity, functioning both as a sign and symptom of social and political change.

The White Indians of Mexican CinemaThe White Indians of Mexican Cinema



Cinesonidos: Film Music and National Identity During Mexico's Epoca de Oro. New York: Oxford University Press, 2019. Ayala Blanco, Jorge. La aventura del cine mexicano en la época de oro y después. Miguel Hidalgo: Grijalbo, 1993.

Author: Mónica García Blizzard

Publisher: State University of New York Press

ISBN: 9781438488059

Category:

Page: 377

View: 451

The White Indians of Mexican Cinema theorizes the development of a unique form of racial masquerade—the representation of Whiteness as Indigeneity—during the Golden Age of Mexican cinema, from the 1930s to the 1950s. Adopting a broad decolonial perspective while remaining grounded in the history of local racial categories, Mónica García Blizzard argues that this trope works to reconcile two divergent discourses about race in postrevolutionary Mexico: the government-sponsored celebration of Indigeneity and mestizaje (or the process of interracial and intercultural mixing), on the one hand, and the idealization of Whiteness, on the other. Close readings of twenty films and primary source material illustrate how Mexican cinema has mediated race, especially in relation to gender, in ways that project national specificity, but also reproduce racist tendencies with respect to beauty, desire, and protagonism that survive to this day. This sweeping survey illuminates how Golden Age films produced diverse, even contradictory messages about the place of indigeneity in the national culture.

Music the Moving Image and Ireland 1897 2017Music the Moving Image and Ireland 1897 2017



Cinesonidos: Film Music and National Identity During Mexico's Época de Oro. Oxford and New York: Oxford University Press. Baker, Steve. 2004. Vampire Troubles: Loyalism and Resurrection Man. In R. Barton and H. O'Brien (eds), ...

Author: John O'Flynn

Publisher: Routledge

ISBN: 9781351357869

Category:

Page: 306

View: 215

Music, the Moving Image and Ireland, 1897–2017 constitutes the first comprehensive study of music for screen productions from or relating to the island. It identifies and interprets tendencies over the first 120 years of a field comprising the relatively distinct yet often overlapping areas of Irish-themed and Irish-produced film. Dividing into three parts, the book first explores accompaniments and scores for 20th-century Irish-themed narrative features that resulted in significant contributions by many Hollywood, British, continental European and, to a lesser extent, Irish composers, along with the input of many orchestras and other musicians. Its second part is framed by a consideration of various cultural, political and economic developments in both the Republic of Ireland and Northern Ireland from the 1920s (including the Troubles of 1968–1998). Focusing on scoring and other aspects of soundtrack production for domestic newsreel, documentary film and TV programming, it interprets the substantial output of many Irish composers within this milieu, particularly from the 1960s to the 1990s. Also referring to broader cultural and historical themes, the book’s third and final part charts approaches to and developments in music and sound design over various waves of Irish cinema, from its relatively late emergence in the 1970s to an exponential growth and increasingly transnational orientation in the early decades of the 21st century.

Rock Star Movie StarRock Star Movie Star



... of the Integrated Soundtrack Danijela Kulezic- Wilson Cinesonidos: Film Music and National Identity During Mexico's Época de oro Jacqueline Avila Rock Star/ Movie Star: Power and Performance in Cinematic Rock Stardom Landon Palmer.

Author: Landon Palmer

Publisher: Oxford University Press

ISBN: 9780190888428

Category:

Page: 288

View: 225

During the mid-1950s, when Hollywood found itself struggling to compete within an expanding entertainment media landscape, certain producers and studios saw an opportunity in making films that showcased performances by rock 'n' roll stars. Rock stars eventually found cinema to be a useful space to extend their creative practices, and the motion picture and recording industries increasingly saw cinematic rock stardom as a profitable means to connect multiple media properties. Indeed, casting rock stars for film provided a tool for bridging new relationships across media industries and practices. From Elvis Presley to Madonna, this book examines the casting rock stars in films. In so doing, Rock Star/Movie Star offers a new perspective on the role of stardom within the convergence of media industries. While hardly the first popular music culture to see its stars making the transition to screen, the timing of rock's emergence and its staying power within popular culture proved fortuitous for a motion picture business searching for its place in the face of continuous technological and cultural change. At the same time, a post-star-system film industry provided a welcoming context for rock stars who have valued authenticity, creative autonomy, and personal expression. This book uses illuminating archival resources to demonstrate how rock stars have often proven themselves to be prominent film workers exploring this terrain of platforms old and new - ideal media laborers whose power lies in the fact that they are rarely recognized as such. Combining star studies with media industry studies, this book proposes an integrated methodology for writing media history that combines the actions of individuals and the practices of industries. It demonstrates how stars have operated as both the gravitational center of media production as well as social actors who have taken on a decisive role in the purposes to which their images are used.

The Movie MusicalThe Movie Musical



Cinesonidos: Film Music and National Identity during Mexico's Época de Oro. New York: Oxford University Press, 2019. Backstein, Karen. “'Stayin' Alive': The Post- Studio Hollywood Musical.” In American Film History: Selected Readings, ...

Author: Desirée J. Garcia

Publisher: Rutgers University Press

ISBN: 9781978803787

Category:

Page: 153

View: 989

"With the release of each new musical film, critics ask, "Has the musical returned?" The very frequency of the question would seem to belie its implication. Indeed, while musicals have changed over time, they have never truly gone away. This point becomes especially clear if we look beyond the "golden age" of the 1940s and 50s, beyond Hollywood, and even beyond the United States. The Movie Musical is a thematic exploration of the genre with a focus on how the musical changes and adapts in order to preserve its own relevance. From The Jazz Singer (1927), The Sound of Music (1965) to La La Land (2016) and The Greatest Showman (2017) and many more, the book traverses time and space, from the classical period of musical film production at midcentury to the present, and from Hollywood to Europe, the United Kingdom, and Asia. Chapters explore the genre as an archive of its own formation, its engagement with race, ethnicity, and gender, and its relationship to ever evolving technologies and media. Ultimately, the book tells a story of the musical's evolution that denies the familiar narrative that the genre is in crisis; instead, The Movie Musical demonstrates that, if we look beyond the familiar places, we see that the musical is dynamic, capacious, and always with us"--

Copiar el ed nCopiar el ed n



Bi - Deo , 1975 , performance multimedia : TV en circuito cerrado , proyecciones de diapositivas y cine , sonidos musicales pregrabados y en directo . La obra continuaba las investigaciones del artista sobre la percepción bifocal ...

Author: María Berríos

Publisher:

ISBN: STANFORD:36105123180858

Category:

Page: 662

View: 414

Analyzes the evolution of contemporary art in Chile from 1973 to 2007. This edition reproduces more than 500 color images of works by 74 contemporary artists (selected by editor Mosquera) including names such as: Juan Downey, Carlos Arias, (Santiago, Chile, 1964); Juan Castillo, (Antofagasta, 1952); Eugenio Dittborn, (Santiago, Chile, 1943); Paz Errzuriz, (Santiago, Chile, 1944); Volupsa Jarpa, (Rancagua, 1971); Carlos Leppe, (Santiago, Chile, 1952); and Carolina Ruff, (Santiago, Chile, 1973), as well as younger generation artists. The artists are presented in alphabetical order with brief introductory texts. Each reproduced work is rigorously documented with a caption that, in addition to providing the technical data offers the reader a description of the work for better comprehension. Six essays by noted critics and art historians: Guillermo Machuca, Mar̕a Berr̕os, Justo Pastor Mellado, Catalina Mena, Nelly Richard y Adriana V̀lads (description provided by vendor).