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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| Formato: | Artículo |
| Lenguaje: | Inglés |
| Publicado: |
Asociación Cineforum L'Atalante
2024
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| Acceso en línea: | https://repositorio.uca.edu.ar/handle/123456789/19099 |
| Aporte de: |
| Sumario: | 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). |
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