Identity Mediations in Latin American Cinema and Beyond Identity Mediations in Latin American Cinema and Beyond: Culture, Music and Transnational Discourses Edited by Cecilia Nuria Gil Mariño and Laura Miranda Identity Mediations in Latin American Cinema and Beyond: Culture, Music and Transnational Discourses Edited by Cecilia Nuria Gil Mariño and Laura Miranda This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Cecilia Nuria Gil Mariño, Laura Miranda and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-3883-4 ISBN (13): 978-1-5275-3883-2 TABLE OFCONTENTS Acknowledgements ................................................................................. viii Introduction ................................................................................................ 1 Redesigning Cultural Cartographies to Reflect on Processes of Identitary Configuration Cecilia Nuria Gil Mariño and Laura Miranda Section 1 – Musical Flows in Latin American Classical Cinema: Towards the Configuration of a Model Chapter 1 .................................................................................................. 10 The Creation of Imperio Argentina as Film Star Vicente J. Benet Chapter 2 .................................................................................................. 28 The Musical Representation of Latin America in Hollywood’s First Sound Films (1927-1932) Juan Carlos Poveda Chapter 3 .................................................................................................. 48 Intercambios musicales entre Argentina y México: el tango y el bolero como fuentes para la difusión de los cines nacionales Silvana Flores Chapter 4 .................................................................................................. 73 O início do cinema sonoro no Brasil e os (en)cantos da língua Carlos Roberto de Souza e Suzana Reck Miranda Chapter 5 ................................................................................................ 103 Seeing Mexican Music in ¡Así es mi tierra! Carlos Belmonte vi Table of Contents Section 2 – National Stereotypes Under Consideration: Revisiting the Nationalism-Cosmopolitanism Antinomy Chapter 6 ................................................................................................ 128 From The Jazz to SingerLa La Land and Some Others In Between Kathryn Kalinak Chapter 7 ................................................................................................ 152 Aportaciones musicales de Chucho Monge al nacionalismo mexicano (1934-2014) Eduardo de la Vega Alfaro Chapter 8 ................................................................................................ 166 El folclor musical veracruzano en el cine mexicano de los años treinta Rosario Vidal Bonifaz Section 3 – Political Identities: Propaganda and Censorship in 1940s Spain Chapter 9 ................................................................................................ 190 Music for Fiction Films During the Spanish Civil War (1936-1939): Identity Functions of the Soundtrack Lidia López Gómez Chapter 10 .............................................................................................. 211 Shaping the Collective Imaginary? Writing About Cinema and Music in the Journal Ritmo During the First Years of Francoism Alberto Caparrós Álvarez Section 4 – Musical Syncretism: Global Identities, Local Identities Chapter 11 .............................................................................................. 232 Drag Performances in Recent Latin American Documentary: Uses of Voice and Musical Flows Agostina Invernizzi and Ezequiel Lozano Chapter 12 .............................................................................................. 242 Baroque, 1989: Construction and Recognition of the Latin American Cultural Identity in Experimental and Musical Cinema Fernandoaldonado David M Parrales Identity Mediations in Latin Americanvii Cinema and Beyond Chapter 13 .............................................................................................. 258 La redención como tópico en films sobre rap y break dance y su apropiación en Argentina: sentidos de una práctica e identidades culturales Ana Sabrina Mora Chapter 14 .............................................................................................. 277 The Soundtrack and Construction of a Brazilian Patchwork Identity in the Film Macunaíma Edson Zampronha Section 5 – Identities under Consideration in Contemporary Cinema Chapter 15 .............................................................................................. 300 Cinema and Tango (1990-2010): Representations, Market and Politics Marisa Iris Alonso Chapter 16 .............................................................................................. 325 The Musicality and Theatrical Referential of The Maias by Eça de Queiroz in the Filmic Narrative of João Botelho – Portuguese Cultural Identity Filomena Antunes Sobral Section 6 – Beyond Western Cinema Chapter 17 .............................................................................................. 346 Under-use of Japanese Music for Japanese Characterization in Western Cinema Juan Urdániz Escolano Chapter 18 .............................................................................................. 368 Space Configuration in Yasujiro Ozu’s Cinema: The Off-screen and the Non-seen in Late Spring, Early Summer and Tokyo Story Susana Palés Chapter 19 .............................................................................................. 383 Commemorative Cinema in the USSR: Shaping Soviet Identity Mikel Bueno Urritzelkilorri Arcocha and E Mendinueta ACKNOWLEDGEMENTS Thest International 1 ema Conference and Identities, onwas Cin CICI 2018, held in Oviedo (Spain) in theresearch spring of into 2018. It was the first music, cinema and cultural identities that delved to be undertaken in Spain into film dialoguesrent Ibero-Americanbetween diffe extending countries, their reachwood to non-Holly cinemas, such asse. Soviet The and Japane results of the conferencehted the great highlig seinterest in the cinematographies in recent yearsfor thisand marked the starting point volume. We thankants, all the researchers participators and for collabor their interest and support in this project. We have been fortunate to havems the and collaboration of several tea institutions on both sides ofmade the possible Atlantic. This book has been thanks to the supportom the Grupo received deen Investigación fr Música Contemporánea de España y Latinoaméricaemporary (Research Group in Cont Music of Spain and Latin America, GIMCEL) —Diapente XXI, of the University ofork Oviedo. is part This ofMúsica thew en conflicto Project en España y Latinoamérica: entre la hegemonía y la transgresión (siglos XX y XXI) [MINECO-16-HAR201564285-C2-1-P], coordinated by Celsa Alonso González. We thank the Departmenticology of Art History and Mus of the Faculty of Philosophy and for Letters, their University of Oviedo, collaboration in this project. Likewise, we would like to thankh as institutions the in Argentina, suc Instituto de Artes del Espectáculo and Letters, of the Faculty of Philosophy University of Buenos Aires,director its director of the Jorge Dubatti and the cinema area Clara Kriger, who encouragedI 2018. the realization of CIC Alejandro Kelly Hopfenblatt andICI Sonia Sasiain, members of the C Organizing Committee, have also their been very important support for comments and contributions to this publication. The Fundación dee la Oviedo Universidad (FUO) hasmental d been instru in obtaining grants for the publicationregard, we are of this volume. In this grateful to the financial endowmentdo, host of city the City Council of Ovie of the CICI. Identity Mediations in Latin Americanix Cinema and Beyond To the members of the CICI Scientific Committee. To Daniel Tunnard for translatingding thisseveral chapters and proofrea book. To Zé Vicentever for image the coto the book. To all the authors of this publication. To our familiesor and their colleagues, enormousur work. f support in o The editors INTRODUCTION REDESIGNINGCULTURAL CARTOGRAPHIES TOR EFLECTP ONROCESSES IDENTITARY OF CONFIGURATION CECILIANURIA GIL M ARIÑO ANDL AURAM IRANDA The appearance of sound film boostedund the entertainment circuits aro world. Such circuits had been functioningte smoothly since the la nineteenth century as transformationsation in transport and communic allowed people, news and resourcesn Lila to circulate more quickly. I Caimari’s work onthe the submarine impact of telegraphn South cable i America in the hesecond nineteenth half of century, st that “the she write appearance of the submarine cablesstantaneity [...] added the notion of in (of the telegraph), that of amporality.” world1 synchronized to one same te That interconnected temporalitys of aided the transference of model consumption and socioculturalitalist practices from more developed cap economies to less developed ones,anges contributing and to cultural exch configuring circulation between distant circuitsergence places. and The