Music, Documentaries and Globalization
From World Music to World Cinema
Abstract This paper deals with the relationship between sound and image as expressed in the cinematic genre of music documentary. In particular, it tries to explore the way in which musical cultures are audiovisually expressed through filmic representation of music performances and artists/groups portraits. By applying a critical and comparative approach, the films Buena Vista Social Club (1999) and Café de los Maestros (2008) become vehicles to investigate images and sounds of music in everyday life, with an emphasis on the impact of globalization and commercialization during their creation and interpretation procedures. The focus is on the commercial exploitation of these films in the context of world capitalism and the way in which it influences the construction of visual representations of non-European musical cultures and identities, as cultural industry shares today a comparable postmodern situation through the concepts of “world music” and “world cinema”. In this light, the paper discusses Latin American (Cuban and Argentine) identities and local music cultures which spread internationally via films and gain a place in the global music scene. Consequently, it points towards issues of authenticity, nostalgia, exoticism, hybridity, folklorization, and the Western domination upon musics as well as films.
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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). Music, Documentaries and Globalization: From World Music to World Cinema. Popular Music Research Today: Revista Online De Divulgación Musicológica, 4(2), 7–21. https://doi.org/10.14201/pmrt.30166
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