Autor/es
Descripción
ver mas
Colaborador
Devalle, Verónica
Gil Mariño, Cecilia
Idioma
spa
Extent
357 p.
Derechos
info:eu-repo/semantics/openAccess
Atribución-NoComercial-SinDerivadas 4.0 Internacional (CC BY-NC-ND 4.0)
Formato
application/pdf
Identificador
Cobertura
ARG
1933-1943
Abstract
This thesis studies the music of the first decade of Argentine classic cinema (1933-1943) from the cultural history approach (Chartier, 1995) within the context of alternative modernities marked by tensions and mixtures in cultural production, that Beatriz Sarlo defined as peripheral modernity (2003).
The theoretical framework is completed by the problematization of modernities, as a crucial category to comprehend the synergetic fabric of cultural industries and the production conditions of film music during this period. Film music studies also contributed with a specific cultural approach to film music (Buhler, 2019.)
This research aims to address the following questions: How was film music produced and created? Who composed and thought them up? What was the context and cultural framework in which they were performed? Furthermore, this study is primarily concerned with exploring the identities and the meaning conveyed by the different pieces of music within the diegetic and non- diegetic dimensions of sound filmmaking. This thesis delves into the complex issue of explaining how music played a significant role in constructing identity representations within a film context of tensions and continuities between the ideas of modernity and tradition and, the national and the international. It proposes the hypothesis that diegetic music, particularly tango, constituted identity representations of the urban and the national but also other related defined identities like the foreign, the rural, the exotic and the immigrational. On the other hand, the non-diegetic music was composed following the international classical film music model and belonged to the classical film language. i.e., the plot and character music had identity meaning since the non-diegetic musical language of the film dispositif was built to the image of a world classical model.
The multiplicity of diegetic musical genres and the internationalizing language of the nondiegetic ones benefited from the huge mobility of the composers. Argentine and foreign composers were on artistic tours around the world as well or were forced to emigrate and exile. This mobility can be explained by the modern and cosmopolitan context of Buenos Aires.
Methodologically speaking, this study utilized three observational and analytic tools implemented in an articulated and yet complementary fashion. Firstly, a comprehensive musical and film analysis was conducted on a wide range of movies. Secondly, hemerographic tracking and analysis of notes on film music and production conditions were performed.
Finally, the voices and the professional track records of composers were recovered through an incessantly search in magazines and other information sources from the period, supplemented by first-hand interviews with direct relatives of the composers.
The theoretical framework is completed by the problematization of modernities, as a crucial category to comprehend the synergetic fabric of cultural industries and the production conditions of film music during this period. Film music studies also contributed with a specific cultural approach to film music (Buhler, 2019.)
This research aims to address the following questions: How was film music produced and created? Who composed and thought them up? What was the context and cultural framework in which they were performed? Furthermore, this study is primarily concerned with exploring the identities and the meaning conveyed by the different pieces of music within the diegetic and non- diegetic dimensions of sound filmmaking. This thesis delves into the complex issue of explaining how music played a significant role in constructing identity representations within a film context of tensions and continuities between the ideas of modernity and tradition and, the national and the international. It proposes the hypothesis that diegetic music, particularly tango, constituted identity representations of the urban and the national but also other related defined identities like the foreign, the rural, the exotic and the immigrational. On the other hand, the non-diegetic music was composed following the international classical film music model and belonged to the classical film language. i.e., the plot and character music had identity meaning since the non-diegetic musical language of the film dispositif was built to the image of a world classical model.
The multiplicity of diegetic musical genres and the internationalizing language of the nondiegetic ones benefited from the huge mobility of the composers. Argentine and foreign composers were on artistic tours around the world as well or were forced to emigrate and exile. This mobility can be explained by the modern and cosmopolitan context of Buenos Aires.
Methodologically speaking, this study utilized three observational and analytic tools implemented in an articulated and yet complementary fashion. Firstly, a comprehensive musical and film analysis was conducted on a wide range of movies. Secondly, hemerographic tracking and analysis of notes on film music and production conditions were performed.
Finally, the voices and the professional track records of composers were recovered through an incessantly search in magazines and other information sources from the period, supplemented by first-hand interviews with direct relatives of the composers.
Título obtenido
Doctora de la Universidad de Buenos Aires en Ciencias Sociales
Institución otorgante
Universidad de Buenos Aires. Facultad de Ciencias Sociales