Música, Documentales y Globalización
De la música del mundo al cine del mundo
Resumen Este trabajo trata de la relación entre sonido e imagen expresada en el género cinematográfico del documental musical. En particular, trata de explorar la forma en que las culturas musicales se expresan audiovisualmente a través de la representación fílmica de actuaciones musicales y retratos de artistas/grupos. Aplicando un enfoque crítico y comparativo, las películas Buena Vista Social Club (1999) y Café de los Maestros (2008) se convierten en vehículos para investigar imágenes y sonidos de la música en la vida cotidiana, con énfasis en el impacto de la globalización y la comercialización durante su desarrollo, procedimientos de creación e interpretación. La atención se centra en la explotación comercial de estas películas en el contexto del capitalismo mundial y la forma en que influye en la construcción de representaciones visuales de culturas e identidades musicales no europeas, ya que la industria cultural comparte hoy una situación posmoderna a través de los conceptos de «música del mundo» y «cine del mundo». Bajo esta luz, el artículo analiza las identidades latinoamericanas (cubana y argentina) y las culturas musicales locales que se difunden internacionalmente a través del cine y ganan un lugar en la escena musical mundial. En consecuencia, apunta hacia cuestiones de autenticidad, nostalgia, exotismo, hibridez, folclorización y la dominación occidental sobre la música y las películas.
- Referencias
- Cómo citar
- Del mismo autor
- Métricas
Amuchastegui, I. (2006). Café de los Maestros. Retina Editores.
Barnouw, E. (1983). Documentary: A History of the Non-fiction Film. Oxford University Press.
Barrett, J. (1996). World Music, Nation and Postcolonialism. Cultural Studies, 10(2): 237-247. https://doi.org/10.1080/09502389600490141.
Brennan, T. (2001). World Music Does Not Exist. Discourse, 23(1): 44-62. https://doi.org/10.1353/dis.2001.0002.
Chanan, M. (2013). Music, Documentary, Music Documentary. In B. Winston (Ed.), The Documentary Cinema Book (pp. 337-344). Palgrave Macmillan.
Corner, J. (2002). Sounds Real: Music and Documentary. Popular Music, 21(3): 357-366. https://doi:10.1017/S0261143002002234.
Dennison, S. & Lim, S. H. (2006). Introduction. In Dennison, S. & Lim, S. H. (Eds.), Remapping World Cinema: Identity, Culture and Politics in Film (pp. 1-15). Wallflower Press.
Edgar, R., Fairclough-Isaacs, K., & Halligan, B. (2013). Music Seen: The Formats and Functions of the Music Documentary. In R. Edgar, K. Fairclough-Isaacs, & Halligan, B. (Eds.), The Music Documentary: Acid Rock to Electropop (pp. 1-21). Routledge.
Erlich, R. (2016). Dateline Havana: The Real Story of U.S. Policy and the Future of Cuba. Routledge.
Fairley, J. (2009). The Rejuvenating Power of the Buena Vista Social Club. Samples, 8(2): 1-24. http://dx.doi.org/10.22029/jlupub-816.
Feld, S. (2000). A Sweet Lullaby for World Music. Public Culture, 12(1): 145-171. https://doi.org/10.1215/08992363-12-1-145.
Garlitz, D. A. (2005). Tourist Songs: Cultural Tourism, the Buena Vista Social Club, and Cuban Son [Unpublished doctoral dissertation]. Wesleyan University.
Godreau, I. (2002). Changing Space, Making Race: Distance, Nostalgia, and the Folklorization of Blackness in Puerto Rico. Identities: Global Studies in Culture and Power, 9(3): 281-304. https://doi.org/10.1080/10702890213969.
Guilbault, J. (1997). Interpreting World Music: A Challenge in Theory and Practice. Popular Music, 16(1): 31-44. http://dx.doi.org/10.1017/S0261143000000684.
Haynes, J. (2005). World Music and the Search for Difference. Ethnicities, 5(3): 365-385. https://doi.org/10.1177/1468796805054961.
Hernández, T. K. (2002). The Buena Vista Social Club: The Racial Politics of Nostalgia. In Habell-Pallán, M. & Romero, M. (Eds.), Latina/o Popular Culture (pp. 61-72). New York University Press.
Hernandez-Reguant, A. (2012). World Music Producers and the Cuban Frontier. In B. W. White (Ed.), Music and Globalization: Critical Encounters (pp. 111-134). Indiana University Press.
Holston, M. (2009). Tango: A Handful of the Musicians who Shaped the Genre Look Back and Ahead at this Argentine Tradition. Splendid, 5: 42-48. https://issuu.com/latintradesplendid/docs/splendid05-magrgb.
Kavoori, A. (2018). Global Postmodernity, World Music and the Discourse of Authenticity: Insights from the Buena Vista Social Club. Global Media Journal México, 15(28): 100-115. https://doi.org/10.29105/gmjmx15.28-7.
Kent, J. C. (2019). Aesthetics and the Revolutionary City: Real and Imagined Havana. Palgrave Macmillan.
Kohan, M. (2008). Café de los Maestros [Film]. Lita Stantic Producciones; Pathe UK; VideoFilmes.
Link, K. & Wendland, K. (2016). Tracing Tangueros: Argentine Tango Instrumental Music. Oxford University Press.
Mazierska, E. (2020). World Cinema, Third Cinema. Studies in World Cinema, 1(1): 14-21. https://doi.org/10.1163/26659891-0000A004.
Miller, M. G. (2014). Introduction. In Miller, M. G. (Ed.), Tango Lessons: Movement, Sound, Image, and Text in Contemporary Practice (pp. 1-32). Duke University Press.
Nichols, B. (1991). Representing Reality: Issues and Concepts in Documentary. Indiana University Press.
Oberacker, J. S. (2008). Affecting the Embargo: Displacing Politics in the Buena Vista Social Club. Popular Communication: The International Journal of Media and Culture, 6(2): 53-67. https://doi.org/10.1080/15405700801977442.
Pacini Hernandez, D. (1998). Dancing with the Enemy: Cuban Popular Music, Race, Authenticity, and the World-Music Landscape. Latin American Perspectives, 25(3): 110-125. https://doi.org/10.1177/0094582X9802500306.
Renov, M. (Ed.). (1993). Theorizing Documentary. Routledge.
Roberts, M. (1992). “World Music” and the Global Cultural Economy. Diaspora: A Journal of Transnational Studies, 2(2): 229-242. https://doi.org/10.3138/diaspora.2.2.229.
Rogers, H. (2015). Music, Sound and the Nonfiction Aesthetic. In H. Rogers (Ed.), Music and Sound in Documentary Film (pp. 1-19). Routledge.
Rosenberg, F. J. (2014). The Return of the Tango in Documentary Film. In Miller, M. G. (Ed.), Tango Lessons: Movement, Sound, Image, and Text in Contemporary Practice (pp. 140-163). Duke University Press.
Skinner, J. (2018). “It’s Tango!” Communicating Intangible Cultural Heritage for the Dance Tourist. In Palmer, C. & Tivers, J. (Eds.), Creating Heritage for Tourism (pp. 77-88). Routledge.
Tornqvist, M. (2013). Tourism and the Globalization of Emotions: The Intimate Economy of Tango. Routledge.
Weiss, S. (2014). Listening to the World but Hearing Ourselves: Hybridity and Perceptions of Authenticity in World Music. Ethnomusicology, 58(3): 506-525. https://doi.org/10.5406/ethnomusicology.58.3.0506.
Wenders, W. & Wenders, D. (2000). Buena Vista Social Club: The Companion Book to the Film. TeNeues Pub Group.
Wenders, W. (1991). The Logic of Images: Essays and Conversations. Faber & Faber.
Wenders, W. (Dir.). (1999). Buena Vista Social Club [Film]. Arte; Instituto Cubano del Arte e Industria Cinematográficos; Kintop Pictures; Road Movies Filmproduktion; Wim Wenders Stiftung.
Wheeler, D. (2017). Affect, Nostalgia, and Modernization: Popular Music in Twenty-First-Century Mexican and Chilean Cinema. In Delgado, M. M., Hart, S. M., & Johnson R. (Eds.), A Companion to Latin American Cinema (pp. 201-216). John Wiley & Sons.
Wyndham, M., & Read, P. (2003). Buena Vista Social Club: Local Meets Global and Lives Happily Ever After. Cultural Geographies, 10(4): 498-503. http://www.jstor.org/stable/44250946.
Barnouw, E. (1983). Documentary: A History of the Non-fiction Film. Oxford University Press.
Barrett, J. (1996). World Music, Nation and Postcolonialism. Cultural Studies, 10(2): 237-247. https://doi.org/10.1080/09502389600490141.
Brennan, T. (2001). World Music Does Not Exist. Discourse, 23(1): 44-62. https://doi.org/10.1353/dis.2001.0002.
Chanan, M. (2013). Music, Documentary, Music Documentary. In B. Winston (Ed.), The Documentary Cinema Book (pp. 337-344). Palgrave Macmillan.
Corner, J. (2002). Sounds Real: Music and Documentary. Popular Music, 21(3): 357-366. https://doi:10.1017/S0261143002002234.
Dennison, S. & Lim, S. H. (2006). Introduction. In Dennison, S. & Lim, S. H. (Eds.), Remapping World Cinema: Identity, Culture and Politics in Film (pp. 1-15). Wallflower Press.
Edgar, R., Fairclough-Isaacs, K., & Halligan, B. (2013). Music Seen: The Formats and Functions of the Music Documentary. In R. Edgar, K. Fairclough-Isaacs, & Halligan, B. (Eds.), The Music Documentary: Acid Rock to Electropop (pp. 1-21). Routledge.
Erlich, R. (2016). Dateline Havana: The Real Story of U.S. Policy and the Future of Cuba. Routledge.
Fairley, J. (2009). The Rejuvenating Power of the Buena Vista Social Club. Samples, 8(2): 1-24. http://dx.doi.org/10.22029/jlupub-816.
Feld, S. (2000). A Sweet Lullaby for World Music. Public Culture, 12(1): 145-171. https://doi.org/10.1215/08992363-12-1-145.
Garlitz, D. A. (2005). Tourist Songs: Cultural Tourism, the Buena Vista Social Club, and Cuban Son [Unpublished doctoral dissertation]. Wesleyan University.
Godreau, I. (2002). Changing Space, Making Race: Distance, Nostalgia, and the Folklorization of Blackness in Puerto Rico. Identities: Global Studies in Culture and Power, 9(3): 281-304. https://doi.org/10.1080/10702890213969.
Guilbault, J. (1997). Interpreting World Music: A Challenge in Theory and Practice. Popular Music, 16(1): 31-44. http://dx.doi.org/10.1017/S0261143000000684.
Haynes, J. (2005). World Music and the Search for Difference. Ethnicities, 5(3): 365-385. https://doi.org/10.1177/1468796805054961.
Hernández, T. K. (2002). The Buena Vista Social Club: The Racial Politics of Nostalgia. In Habell-Pallán, M. & Romero, M. (Eds.), Latina/o Popular Culture (pp. 61-72). New York University Press.
Hernandez-Reguant, A. (2012). World Music Producers and the Cuban Frontier. In B. W. White (Ed.), Music and Globalization: Critical Encounters (pp. 111-134). Indiana University Press.
Holston, M. (2009). Tango: A Handful of the Musicians who Shaped the Genre Look Back and Ahead at this Argentine Tradition. Splendid, 5: 42-48. https://issuu.com/latintradesplendid/docs/splendid05-magrgb.
Kavoori, A. (2018). Global Postmodernity, World Music and the Discourse of Authenticity: Insights from the Buena Vista Social Club. Global Media Journal México, 15(28): 100-115. https://doi.org/10.29105/gmjmx15.28-7.
Kent, J. C. (2019). Aesthetics and the Revolutionary City: Real and Imagined Havana. Palgrave Macmillan.
Kohan, M. (2008). Café de los Maestros [Film]. Lita Stantic Producciones; Pathe UK; VideoFilmes.
Link, K. & Wendland, K. (2016). Tracing Tangueros: Argentine Tango Instrumental Music. Oxford University Press.
Mazierska, E. (2020). World Cinema, Third Cinema. Studies in World Cinema, 1(1): 14-21. https://doi.org/10.1163/26659891-0000A004.
Miller, M. G. (2014). Introduction. In Miller, M. G. (Ed.), Tango Lessons: Movement, Sound, Image, and Text in Contemporary Practice (pp. 1-32). Duke University Press.
Nichols, B. (1991). Representing Reality: Issues and Concepts in Documentary. Indiana University Press.
Oberacker, J. S. (2008). Affecting the Embargo: Displacing Politics in the Buena Vista Social Club. Popular Communication: The International Journal of Media and Culture, 6(2): 53-67. https://doi.org/10.1080/15405700801977442.
Pacini Hernandez, D. (1998). Dancing with the Enemy: Cuban Popular Music, Race, Authenticity, and the World-Music Landscape. Latin American Perspectives, 25(3): 110-125. https://doi.org/10.1177/0094582X9802500306.
Renov, M. (Ed.). (1993). Theorizing Documentary. Routledge.
Roberts, M. (1992). “World Music” and the Global Cultural Economy. Diaspora: A Journal of Transnational Studies, 2(2): 229-242. https://doi.org/10.3138/diaspora.2.2.229.
Rogers, H. (2015). Music, Sound and the Nonfiction Aesthetic. In H. Rogers (Ed.), Music and Sound in Documentary Film (pp. 1-19). Routledge.
Rosenberg, F. J. (2014). The Return of the Tango in Documentary Film. In Miller, M. G. (Ed.), Tango Lessons: Movement, Sound, Image, and Text in Contemporary Practice (pp. 140-163). Duke University Press.
Skinner, J. (2018). “It’s Tango!” Communicating Intangible Cultural Heritage for the Dance Tourist. In Palmer, C. & Tivers, J. (Eds.), Creating Heritage for Tourism (pp. 77-88). Routledge.
Tornqvist, M. (2013). Tourism and the Globalization of Emotions: The Intimate Economy of Tango. Routledge.
Weiss, S. (2014). Listening to the World but Hearing Ourselves: Hybridity and Perceptions of Authenticity in World Music. Ethnomusicology, 58(3): 506-525. https://doi.org/10.5406/ethnomusicology.58.3.0506.
Wenders, W. & Wenders, D. (2000). Buena Vista Social Club: The Companion Book to the Film. TeNeues Pub Group.
Wenders, W. (1991). The Logic of Images: Essays and Conversations. Faber & Faber.
Wenders, W. (Dir.). (1999). Buena Vista Social Club [Film]. Arte; Instituto Cubano del Arte e Industria Cinematográficos; Kintop Pictures; Road Movies Filmproduktion; Wim Wenders Stiftung.
Wheeler, D. (2017). Affect, Nostalgia, and Modernization: Popular Music in Twenty-First-Century Mexican and Chilean Cinema. In Delgado, M. M., Hart, S. M., & Johnson R. (Eds.), A Companion to Latin American Cinema (pp. 201-216). John Wiley & Sons.
Wyndham, M., & Read, P. (2003). Buena Vista Social Club: Local Meets Global and Lives Happily Ever After. Cultural Geographies, 10(4): 498-503. http://www.jstor.org/stable/44250946.
Poulakis, N., & Stamatatou, C. (2023). Música, Documentales y Globalización: De la música del mundo al cine del mundo. Popular Music Research Today: Revista Online De Divulgación Musicológica, 4(2), 7–21. https://doi.org/10.14201/pmrt.30166
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