Popular Music in Spanish Cinema
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Popular Music in Spanish Cinema
Gomez, Lidia Lopez
Taylor & Francis Ltd
01/2025
208
Mole
9781032047089
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List of figures
List of tables
List of Contributors
Introduction
The Second Republic: Spanish popular songs take to the screen.
Cinema and National imaginary: the musical representation of Andalusia in films at the beginning of the 20th century.
Copla and Flamenco in Spanish Republican cinema: the cantaor Angelillo and the director Luis Bunuel in the film production company Filmofono.
Forces of Freedom: Carmen Amaya in La Hija de Juan Simon (1935).
Evasion and entertainment. Jazz, Pop, and musical films during Civil war and Franco's Dictatorship years.
From Spain to Germany (and back to Spain): songs in the Spanish musical films of the 1930s.
Singing in Misery: Jazz and Popular Music in Spanish Postwar Comedies.
Popular music and ideology in the Spanish musical films of the 1950s.
Building Bridges towards modernity. Copla and Flamenco revisited in the search for a Spanish national identity.
Pop Music in the Spanish musical cinema of the 1960s.
The kids take to the screen. A review of the formulas used in cine con nino and its main protagonists in 1960s musical cinema.
Cancion espanola in cinema: Manolo Escobar, between tradition and modernity.
Democracy and change of Century. New musical perspectives and nostalgia forgathered.
From mythification to eroticism: copla on the big screen.
The spirit of (almost) forgotten Spain: music and women in the early films of Pedro Almodovar
21st century Spain. Sonic influences and transmedia productions.
Through the eyes of the new Century. Music and collective memory in contemporary films set in the Spanish Civil war.
Pop songs in Spanish musical films during the 21st Century.
Exploring transmedia storytelling through original songs in award-winning Spanish films.
Glossary
Index
List of tables
List of Contributors
Introduction
The Second Republic: Spanish popular songs take to the screen.
Cinema and National imaginary: the musical representation of Andalusia in films at the beginning of the 20th century.
Copla and Flamenco in Spanish Republican cinema: the cantaor Angelillo and the director Luis Bunuel in the film production company Filmofono.
Forces of Freedom: Carmen Amaya in La Hija de Juan Simon (1935).
Evasion and entertainment. Jazz, Pop, and musical films during Civil war and Franco's Dictatorship years.
From Spain to Germany (and back to Spain): songs in the Spanish musical films of the 1930s.
Singing in Misery: Jazz and Popular Music in Spanish Postwar Comedies.
Popular music and ideology in the Spanish musical films of the 1950s.
Building Bridges towards modernity. Copla and Flamenco revisited in the search for a Spanish national identity.
Pop Music in the Spanish musical cinema of the 1960s.
The kids take to the screen. A review of the formulas used in cine con nino and its main protagonists in 1960s musical cinema.
Cancion espanola in cinema: Manolo Escobar, between tradition and modernity.
Democracy and change of Century. New musical perspectives and nostalgia forgathered.
From mythification to eroticism: copla on the big screen.
The spirit of (almost) forgotten Spain: music and women in the early films of Pedro Almodovar
21st century Spain. Sonic influences and transmedia productions.
Through the eyes of the new Century. Music and collective memory in contemporary films set in the Spanish Civil war.
Pop songs in Spanish musical films during the 21st Century.
Exploring transmedia storytelling through original songs in award-winning Spanish films.
Glossary
Index
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
Spanish;Music;film production;culture;Cinema;Spanish Cinema;Main Characters;Los Angeles;Imperio Argentina;Blanca;Musical Films;La Llamada;Vice Versa;Carlos Gardel;National Catholicism;Diegetic Music;Transmedia Storytelling;Republican Cinema;Tv Talent Show;El Negro;Young Men;Musical Numbers;Non-diegetic Music;Hispanic America;Tierra Sin Pan;La Movida;Nino;Spanish Language;Otras;Timeless
List of figures
List of tables
List of Contributors
Introduction
The Second Republic: Spanish popular songs take to the screen.
Cinema and National imaginary: the musical representation of Andalusia in films at the beginning of the 20th century.
Copla and Flamenco in Spanish Republican cinema: the cantaor Angelillo and the director Luis Bunuel in the film production company Filmofono.
Forces of Freedom: Carmen Amaya in La Hija de Juan Simon (1935).
Evasion and entertainment. Jazz, Pop, and musical films during Civil war and Franco's Dictatorship years.
From Spain to Germany (and back to Spain): songs in the Spanish musical films of the 1930s.
Singing in Misery: Jazz and Popular Music in Spanish Postwar Comedies.
Popular music and ideology in the Spanish musical films of the 1950s.
Building Bridges towards modernity. Copla and Flamenco revisited in the search for a Spanish national identity.
Pop Music in the Spanish musical cinema of the 1960s.
The kids take to the screen. A review of the formulas used in cine con nino and its main protagonists in 1960s musical cinema.
Cancion espanola in cinema: Manolo Escobar, between tradition and modernity.
Democracy and change of Century. New musical perspectives and nostalgia forgathered.
From mythification to eroticism: copla on the big screen.
The spirit of (almost) forgotten Spain: music and women in the early films of Pedro Almodovar
21st century Spain. Sonic influences and transmedia productions.
Through the eyes of the new Century. Music and collective memory in contemporary films set in the Spanish Civil war.
Pop songs in Spanish musical films during the 21st Century.
Exploring transmedia storytelling through original songs in award-winning Spanish films.
Glossary
Index
List of tables
List of Contributors
Introduction
The Second Republic: Spanish popular songs take to the screen.
Cinema and National imaginary: the musical representation of Andalusia in films at the beginning of the 20th century.
Copla and Flamenco in Spanish Republican cinema: the cantaor Angelillo and the director Luis Bunuel in the film production company Filmofono.
Forces of Freedom: Carmen Amaya in La Hija de Juan Simon (1935).
Evasion and entertainment. Jazz, Pop, and musical films during Civil war and Franco's Dictatorship years.
From Spain to Germany (and back to Spain): songs in the Spanish musical films of the 1930s.
Singing in Misery: Jazz and Popular Music in Spanish Postwar Comedies.
Popular music and ideology in the Spanish musical films of the 1950s.
Building Bridges towards modernity. Copla and Flamenco revisited in the search for a Spanish national identity.
Pop Music in the Spanish musical cinema of the 1960s.
The kids take to the screen. A review of the formulas used in cine con nino and its main protagonists in 1960s musical cinema.
Cancion espanola in cinema: Manolo Escobar, between tradition and modernity.
Democracy and change of Century. New musical perspectives and nostalgia forgathered.
From mythification to eroticism: copla on the big screen.
The spirit of (almost) forgotten Spain: music and women in the early films of Pedro Almodovar
21st century Spain. Sonic influences and transmedia productions.
Through the eyes of the new Century. Music and collective memory in contemporary films set in the Spanish Civil war.
Pop songs in Spanish musical films during the 21st Century.
Exploring transmedia storytelling through original songs in award-winning Spanish films.
Glossary
Index
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
Spanish;Music;film production;culture;Cinema;Spanish Cinema;Main Characters;Los Angeles;Imperio Argentina;Blanca;Musical Films;La Llamada;Vice Versa;Carlos Gardel;National Catholicism;Diegetic Music;Transmedia Storytelling;Republican Cinema;Tv Talent Show;El Negro;Young Men;Musical Numbers;Non-diegetic Music;Hispanic America;Tierra Sin Pan;La Movida;Nino;Spanish Language;Otras;Timeless
