The musical performer as a character in the films of Carlos Gardel and Amalia Rodrigues: transmediality, professionalization and globalization

The emergence of sound cinema around the thirties drew plot inspiration from various urban and popular musical genres that were flourishing at the time. Cinema quickly seized the opportunity to capture sound and image simultaneously and integrated singers who were already idolized during the earl...

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Autor principal: Dalbosco, Dulce María
Formato: Artículo
Lenguaje:Inglés
Publicado: Asociación Cineforum L'Atalante 2024
Materias:
TANGO
FADO
CANTANTES
PERSONAJES
CINE ARGENTINO
CINE PORTUGUES
Gardel, Carlos, 1890-1935
Rodrigues, Amália, 1920-1999
Acceso en línea:https://repositorio.uca.edu.ar/handle/123456789/19099
Aporte de:
Repositorio Institucional de la Universidad Católica Argentina (UCA) de Universidad Católica Argentina
id I33-R139-123456789-19099
record_format dspace
spelling I33-R139-123456789-190992024-11-27T05:01:35Z The musical performer as a character in the films of Carlos Gardel and Amalia Rodrigues: transmediality, professionalization and globalization El intérprete musical como personaje en las películas de Carlos Gardel y Amalia Rodrigues: transmedialidad, profesionalización y globalización Dalbosco, Dulce María TANGO FADO CANTANTES PERSONAJES CINE ARGENTINO CINE PORTUGUES Gardel, Carlos, 1890-1935 Rodrigues, Amália, 1920-1999 The emergence of sound cinema around the thirties drew plot inspiration from various urban and popular musical genres that were flourishing at the time. Cinema quickly seized the opportunity to capture sound and image simultaneously and integrated singers who were already idolized during the early decades of the twentieth century into its star system. In this context, the musical performer not only became a cult figure but also became transmedial, regularly appearing as a cinematic character. On this occasion, we aim to analyse some parallelisms in how sound cinema capitalized on the success of Carlos Gardel — tango singer — and Amália Rodrigues — fado singer — in their respective countries, to shape the figure of the singer as a film character and project them nationally and internationally as identity emblems. To this end, we will analyse some films starring them, where they play the role of singers. From Gardel, we will take Melodía de arrabal [Suburban melody] (Louis J. Gasnier, 1932) and El día que me quieras [The day that you love me] (John Reinhardt, 1935), while from Amália, we have chosen Fado, história de uma cantadeira [Fado, Story of a Singer] (Perdigão Queiroga, 1947) and Sangue toureiro [Bullfighter’s Blood] (Augusto Fraga, 1958). El surgimiento del cine sonoro en torno a la década de los treinta del siglo XX encontró inspiración argumental en distintos géneros musicales urbanos y populares, que se hallaban en auge por ese entonces. De este modo, el cine pronto aprovechó la posibilidad de recoger sonido e imagen de manera simultánea e integró a su star system a los cantantes ya idolatrados durante las primeras décadas del siglo XX. En este marco, el intérprete musical no solo se transformó en una figura de culto, sino que él mismo se vuelve transmedial y se convierte en un personaje cinematográfico habitual. En esta ocasión queremos analizar algunos paralelismos en la forma en que el cine sonoro sacó ventaja del éxito de Carlos Gardel —cantor de tangos— y de Amália Rodrigues —fadista— en sus respectivos países, para modelar la figura del o de la cantante como personaje cinematográfico y proyectarlos nacional e internacionalmente como emblemas identitarios. Con este fin, analizaremos algunas películas protagonizadas por ellos, donde representan el papel de cantantes. De Gardel tomaremos Melodía de arrabal (Louis J. Gasnier, 1932) y El día que me quieras (John Reinhardt, 1935), mientras que de Amália hemos escogido Fado, história de uma cantadeira (Perdigão Queiroga, 1947) y Sangue toureiro (Augusto Fraga, 1958). 2024-11-26T11:14:23Z 2024-11-26T11:14:23Z 2024 Artículo 1885-3730 (impreso) 2340-6992 (online) https://repositorio.uca.edu.ar/handle/123456789/19099 eng Atribución 4.0 Internacional http://creativecommons.org/licenses/by/4.0/ application/pdf Asociación Cineforum L'Atalante L'Atalante revista de estudios cinematográficos. 2024 (38)
institution Universidad Católica Argentina
institution_str I-33
repository_str R-139
collection Repositorio Institucional de la Universidad Católica Argentina (UCA)
language Inglés
topic TANGO
FADO
CANTANTES
PERSONAJES
CINE ARGENTINO
CINE PORTUGUES
Gardel, Carlos, 1890-1935
Rodrigues, Amália, 1920-1999
spellingShingle TANGO
FADO
CANTANTES
PERSONAJES
CINE ARGENTINO
CINE PORTUGUES
Gardel, Carlos, 1890-1935
Rodrigues, Amália, 1920-1999
Dalbosco, Dulce María
The musical performer as a character in the films of Carlos Gardel and Amalia Rodrigues: transmediality, professionalization and globalization
topic_facet TANGO
FADO
CANTANTES
PERSONAJES
CINE ARGENTINO
CINE PORTUGUES
Gardel, Carlos, 1890-1935
Rodrigues, Amália, 1920-1999
description The emergence of sound cinema around the thirties drew plot inspiration from various urban and popular musical genres that were flourishing at the time. Cinema quickly seized the opportunity to capture sound and image simultaneously and integrated singers who were already idolized during the early decades of the twentieth century into its star system. In this context, the musical performer not only became a cult figure but also became transmedial, regularly appearing as a cinematic character. On this occasion, we aim to analyse some parallelisms in how sound cinema capitalized on the success of Carlos Gardel — tango singer — and Amália Rodrigues — fado singer — in their respective countries, to shape the figure of the singer as a film character and project them nationally and internationally as identity emblems. To this end, we will analyse some films starring them, where they play the role of singers. From Gardel, we will take Melodía de arrabal [Suburban melody] (Louis J. Gasnier, 1932) and El día que me quieras [The day that you love me] (John Reinhardt, 1935), while from Amália, we have chosen Fado, história de uma cantadeira [Fado, Story of a Singer] (Perdigão Queiroga, 1947) and Sangue toureiro [Bullfighter’s Blood] (Augusto Fraga, 1958).
format Artículo
author Dalbosco, Dulce María
author_facet Dalbosco, Dulce María
author_sort Dalbosco, Dulce María
title The musical performer as a character in the films of Carlos Gardel and Amalia Rodrigues: transmediality, professionalization and globalization
title_short The musical performer as a character in the films of Carlos Gardel and Amalia Rodrigues: transmediality, professionalization and globalization
title_full The musical performer as a character in the films of Carlos Gardel and Amalia Rodrigues: transmediality, professionalization and globalization
title_fullStr The musical performer as a character in the films of Carlos Gardel and Amalia Rodrigues: transmediality, professionalization and globalization
title_full_unstemmed The musical performer as a character in the films of Carlos Gardel and Amalia Rodrigues: transmediality, professionalization and globalization
title_sort musical performer as a character in the films of carlos gardel and amalia rodrigues: transmediality, professionalization and globalization
publisher Asociación Cineforum L'Atalante
publishDate 2024
url https://repositorio.uca.edu.ar/handle/123456789/19099
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