Cinesonidos
Film Music and National Identity During Mexico's Época de Oro
Series: Oxford Music/Media Series;
- Publisher's listprice GBP 37.49
-
16 926 Ft (16 120 Ft + 5% VAT)
The price is estimated because at the time of ordering we do not know what conversion rates will apply to HUF / product currency when the book arrives. In case HUF is weaker, the price increases slightly, in case HUF is stronger, the price goes lower slightly.
- Discount 20% (cc. 3 385 Ft off)
- Discounted price 13 541 Ft (12 896 Ft + 5% VAT)
- Discount is valid until: 30 June 2026
Subcribe now and take benefit of a favourable price.
Subscribe
16 926 Ft
Availability
Estimated delivery time: In stock at the publisher, but not at Prospero's office. Delivery time approx. 3-5 weeks.
Not in stock at Prospero.
Why don't you give exact delivery time?
Delivery time is estimated on our previous experiences. We give estimations only, because we order from outside Hungary, and the delivery time mainly depends on how quickly the publisher supplies the book. Faster or slower deliveries both happen, but we do our best to supply as quickly as possible.
Product details:
- Publisher OUP USA
- Date of Publication 14 October 2019
- ISBN 9780190671310
- Binding Paperback
- No. of pages288 pages
- Size 155x231x20 mm
- Weight 499 g
- Language English
- Illustrations 29 illus. 0
Categories
Short description:
Author Jacqueline Avila looks at the ways that Mexican cinema and its music during the silent and early sound periods continuously reshaped the contested, fluctuating space of Mexican identity, functioning both as a sign and symptom of social and political change.
MoreLong description:
During Mexico's silent (1896-1930) and early sound (1931-52) periods, cinema saw the development of five significant genres: the prostitute melodrama (including the cabaretera subgenre), the indigenista film (on indigenous themes or topics), the cine de añoranza porfiriana (films of Porfirian nostalgia), the Revolution film, and the comedia ranchera (ranch comedy). In this book, author Jacqueline Avila looks at examples from all genres, exploring the ways that the popular, regional, and orchestral music in these films contributed to the creation of tropes and archetypes now central to Mexican cultural nationalism. Integrating primary source material--including newspaper articles, advertisements, films--with film music studies, sound studies, and Mexican film and cultural history, Avila examines how these tropes and archetypes mirrored changing perceptions of mexicanidad manufactured by the State and popular and transnational culture. As she shows, several social and political agencies were heavily invested in creating a unified national identity in an attempt to merge the previously fragmented populace as a result of the Revolution. The commercial medium of film became an important tool to acquaint a diverse urban audience with the nuances of Mexican national identity, and music played an essential and persuasive role in the process. In this heterogeneous environment, cinema and its music continuously reshaped the contested, fluctuating space of Mexican identity, functioning both as a sign and symptom of social and political change.
Cinesonidos is one of those rare first-of-a-kind books, due to its original work engaging Mexico through lines of musicology that are coming into their first dialogue with the work of Latin Americanist scholars working in cinema and communications. In doing so, Avila proposes an original, scholarly sound and intellectually valuable account of sound in Mexican cinema, one that will not only be an obligatory reference to scholars, but that opens new lines of scholars working on cinema and sound outside of Hollywood and Western European paradigms.
Table of Contents:
Acknowledgements
Introduction
Chapter One: The Prostitute and the Cinematic Cabaret: Musicalizing the "Fallen Woman" and Mexico City's Nightlife
Chapter Two: The Salon, the Stage, and Porfirian Nostalgia
Chapter Three: The Sounds of Indigenismo: Cultural Integration and Musical Exoticism in Janitzio (1934) and María Candelaria (1943)
Chapter Four: The Singing Charro in the Comedia Ranchera: Music, Machismo, and the Invention of a Tradition
Chapter Five: The Strains of the Revolution: Musicalizing the Soldadera in the Revolutionary Melodrama
Epilogue
Bibliography
