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Language Eu-topías : revista de interculturalidad, comunicación y estudios europeos. 2019. Nº 18
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- 1, 2, 3? ¡Al escondite inglés! Eurovisión, psicodelia y cine en la España ye-yé(2019) Fraile Prieto, TeresaThis article studies the movie 1,?2,?3? al escondite inglés (Iván Zulueta, 1969), undoubtly the most paradigmatic example of Spanish pop cinema. The first film by Ivan Zulueta, remembered as a cursed filmmaker, is an emerging example of countercultural and anti-hegemonic discourse in the last years of the Franco regime, embarked on the international opening of its politics. The succession of musical sequences, almost videoclips of the bands of the moment, is a declaration of audiovisual intentions that perfectly defines the musical and social desires of a generation anxious for freedom.
- Educación, cultura y sociedad. Espacios críticos(2019) Guillamón, SilviaVV.AA., Educación, cultura y sociedad. Espacios críticos, Coordinación de Míriam Abiétar López, Jorge Belmonte Arocha y Elena Giménez Urraco, Valencia, Tirant, 2018, 226 págs.
- Triunfo, fama y talento. Audiencias juveniles y educación musical a través de los mass media(2019) García Celdrán, María; Encabo Fernández, EnriqueLa società dell?informazione digitale ci prepara a nuove e costanti sfide educative. Nel presente articolo si propongono alcune osservazioni sorte da una ricerca in corso che ha come centro d?interesse i giovani come dolescenti e telespettatori della realtà offerta negli schermi, così come le opportunità di insegnamento-apprendimento offerte dall?audiovisivo per la pratica dell?educazione musicale nelle scuole. A tale fine si realizza una descrizione degli aspetti teorici relazionati con l?influenza e l?impatto del consumo culturale e audiovisuale sui giovani, sulla costruzione della propria identità e sui processi di socializzazione. Successivamente, si espone un?analisi comparativo dell?immagine che si proietta della musica e dei giovani interpreti in programmi musicali di televisione, con speciale attenzione ai fenomeni recenti di Operación Triunfo e La Voz. Finalmente, si osservano una serie di stereotipi e tratti comuni associati al mondo della musica e ai suoi partecipanti.
- Il mattatoio tra Marcuse e patronage. Alcune chiavi di lettura dell?opera di Giorgio Pressburger(2019) Carini, FrancescoThis article presents the radio-play Il mattatoio (The slaughter house) by the writer and playwright Giorgio Pressburger. The analysis is focused on some main points of the theories of Herbert Marcuse (who is directly mentioned in the incipit of the piece) regarding consumer society and family. In this work, presented by RAI at the Prix Italia 1967 and aired on the Third Program on the 9th October of the same year, the author is able to describe with intelligence a situation in which Luciano Prisco, an alleged mobster and businessman native of Naples, owner of three slaughterhouses in New York, passes craftily over everything that is not connected to his own social and economic climbing. In such context, where family becomes only a way to manage power and business, in part like a clientelistic structure, with functions and roles decided by the main character, every aspect that is not connected to the protection and growth of his authority becomes useless and dangerous.
- Sonidos en serie. Interacciones entre imagen y música en Mad Men(2019) Gutiérrez Martínez, BegoñaThe television series Mad Men (Mathew Weiner, 2007-2015) is set in the 1960s in New York and deals mainly with the advertising universe. Its soundtrack contains both original and pre-existing pieces of music. Our goal is to analyze the interactions that are established between image and music in the first season of the series, employing textual analysis. We will examine its musical world, as well as the sensations that this world produces, in order to specify the experience of the spectators. To this aim, we will analyse different scenes from the first season where we can listen to characteristic musical themes of this audiovisual text. First, we will focus on the creative processes developed by composer David Carbonara and music supervisor Alexandra Patsavas, both responsible for Mad Men?s music. Secondly, we will analyze different scenes in which the following themes sound: ?A Beautiful Mine» (RJD2, 2006); «Band of Gold» (Don Cherry, 1955); «On The Street Where You Live» (Vic Damone, 1956); «P.S. I Love You» (Bobby Vinton, 1967); «The Great Divide» (The Cardigans, 1996); «Água de beber» (Astrud Gilberto y Antonio Carlos Jobim, 1965); «Mad Men Suite» (David Carbonara, 2007); and «Don?t Think Twice, It?s All Right» (Bob Dylan, 1963). Finally, during the conclusions we will explain how music interacts with the following dimensions of the audiovisual text: formal elements of the series; audiovisual storytelling; historical accuracy.
- Donne, razza e classe(2019) Franco, AlessiaAngela Davis, Donne, razza e classe, traduzione italiana di M. Moïse e A. Prunetti, prefazione di C. Arruzza. Roma: Edizioni Alegre, 2018, 304 pag.
- Medios audiovisuales y músicas populares : Comunicación, representación y diversidad en la esfera mediática(2019) Ayuso Ros, Fran; Pedro, JosepEste dossier aborda las relaciones entre los medios audiovisuales y las músicas populares desde una perspectiva comunicativa. Ante la multiplicidad y complejidad de textos, caminos y sinergias, el objetivo es analizar la producción de sentido y las estrategias e interacciones comunicativas a partir de distintos casos de estudio, que nos remiten a diversas situaciones y contextos. En ellos se abordan una importante variedad de cuestiones en torno a las interacciones entre imagen y música, la historia de los medios de comunicación y de los géneros musicales, y las implicaciones políticas, identitarias, raciales y de género de la producción audiovisual, tanto en el siglo XX como en el XXI.
- El pop como síntoma : Disonancias entre el jazz y el videoclip contemporáneo(2019) Jaume, MarceloLe jazz a de nos jours, surtout depuis sa mise en place dans le domaine universitaire à la fin des années 1980, une position ambiguë vis-à-vis de la musique populaire. Cette démarcation particulière est également évidente dans sa relation anormale avec la vidéo musicale, récit dominant dans la musique populaire et où le jazz n?a pas d?espace de représentation habituel, malgré sa prédominance autrefois à travers les formats comosoundies et scopitones. Bien que l?enregistrement de concerts et teasers promotionels restent relativement fréquents, le clip musicale en tant que discours esthétique autonome, n?est pas répandu. Le but principal de ce texte est d?examiner de manière critique les raisons de cette relation particulière, en accordant spécialement attention au cas européen. Pour cela, des exemples seront analysés et des questions telles que les notions de récit et narrative associées à la musique instrumentale, les discours qui s?y superposent à partir du support visuel, l?autonomie du langage du clip vidéo et la relation entre le jazz et d?autres genres musicaux, seront considérées.
- Migrantes y medios en el ciberespacio : Construcción de identidad en los «no lugares»(2019) Vaquerizo Domínguez, EnriqueQuesto articolo studia la relazione tra i tre vertici del triangolo TIC, identità e migrazioni attraverso un?analisi lineare dei referenti del soggetto. Un viaggio incentrato sullo scenario sempre più mobile e dinamico in cui i tre attori si relazionano, dai rigidi confini geografici tradizionali alla permeabilità del transnazionalismo e del cyberspazio. La bibliografia consultata coincide nel presentare le comunità di migranti che vivono nella loro vita quotidiana relazioni simultanee, e talvolta ambivalenti, con il territorio di origine e di accoglienza, che diluiscono le costruzioni identitarie associate ai confini degli Stati nazionali tradizionali, lasciando il posto a nuovi significati e appartenenze dinamiche e mutevoli. Il risultato evidenzia l?importanza delle tecnologie dell?informazione e della comunicazione (TIC) come mediatori, che riuniscono migranti geograficamente dispersi nella diaspora ma ora intensamente collegati, e che ruotano intorno al territorio di origine. Un territorio ricreato, ricostruito e talvolta idealizzato in modo simbolico.
- La construcción de las identidades racializadas en el cine musical hollywoodense(2019) Aparisi Galán, MaríaThis paper aims to critically approach the cinematographic representation of famed jazz singer Billie Holiday in the short film Symphony in Black (Fred Waller, 1935) and in the film New Orleans (Arthur Lubin, 1947). Specifically, we will focus on the analysis of the racial and gender stereotypes assigned to the filmic image and musical interpretations of the artist, which will provide the keys to undertstanding the dynamics of rejection and desire that exist behind the construction of ?blackness? developed by the Hollywood musical cinema of the 1930s and 1940s.
- Il corpo del testo. Elementi di traduzione transfemminista queer(2019) Barletta, MarcoLaura Fontanella, Il corpo del testo. Elementi di traduzione transfemminista queer. Sesto San Giovanni: Asterisco, 2019, 196 págs.
- A favor y en contra de la Historia. El cine moderno y el pueblo que falta o el derrumbe de los esencialismos(2019) Valle Corpas, IreneThe freshness of the new waves actually began as a breath of memory and History. For a generation of filmmakers in the sixties, the irruption of Modernity should not mean forgetfulness, the cult of the ephemeral or the delocalised. On the contrary, working with the remains of the IIGM and in a climate of strong geopolitical tension and major social changes, especially in Europe, such filmmakers, distrusting, did not want to forget past or present wounds, they re-opened them against the amnesic consensus inherent of the days of ?progress?. They set out to criticize the great ideals that began to wither on the horizon of the great social transformations of the post-war period and pleaded for the creation of new ones through the use of images.
- Eppur si muove. Vislumbres de Galileo Galilei(2019) Janés, ClaraWhen Einstein was in Madrid in 1923, he said that his theory of relativity was no more than the continuation of what Newton and Galileo had found. Certainly the latter studied the different movements and came to define their differences, concluding that the movement of a system is captured only in relation to ?things that lack it; but among the things that participate equally in it, nothing operates and it is as if it did not exist?. In this text we try to explain the difference between his discovery of relativity and that of Einstein, which involves the equivalence of mass and energy and the fundamental valuation of the speed of light.
- El humor y la cultura política en la España contemporánea(2019) Bañón Castellón, LolaJosep Lluís Gómez Mompart, Francesc A. Martínez Gallego y Enrique Bordería Ortiz (eds). El humor y la cultura política en la España contemporánea. Barcelona: Hacer editorial, 2019, 248 págs.
- The ?Black Angel? in Lisbon : Josephine Baker challenges Salazar, live on television(2019) Cravinho, PedroThis essay examines a televised performance by Josephine Baker that took place in Portugal on 29 November 1960, during the time of Portugal?s so-called ?New State? (Estado Novo) regime. The performance included the song ?Terra Seca? by Ary Barroso, the lyrics of which explore slavery and racial discrimination, and Baker also made a deliberate point of speaking to racial and human rights issues. Baker?s pronouncements took place within a context of global instability surrounding the ongoing decolonization process. At this time, Portugal was one of the last of the European colonial empires, and was the target of huge international media pressure in support of decolonization. Josephine Baker?s televised performance can be understood as a stance in opposition to Portuguese colonial policies. As Jill Dolan has argued, ?utopian performatives persuade us that beyond this ?now? of material oppression and unequal power relations lives a future that might be different, one whose potential we can feel as we?re seared by the promise of a present that gestures toward a better later? (Dolan, 2008: 7). Baker?s stance reflected a resilient opposition against colonialism and a demand for better conditions for those living under oppression globally. So, with no small degree of irony, the Portuguese Public Television Service ? the dictator Salazar?s ?ideological apparatus?, which was controlled by a rigorous Censorship Bureau to prevent the circulation of any potentially subversive content, especially related to African issues ? was used against itself by a ?Black Angel?.
- Bob Dylan?s 'A Hard Rain?s a-Gonna Fall' : Análisis estructural y estilístico de una ruptura poética en el estándar del folk tradicional norteamericano(2019) Albarrán, JesúsThis article aims to highlight the social and creative context in which the aesthetic rupture of the song ?A Hard Rain?s a-Gonna Fall?, composed by American singer-songwriter Bob Dylan, was born, as well as to apply a structural and stylistic analysis to the poetic elements of the anthem, by paying special attention to its literary, musical and expressive references. The American protest song of the early sixties presented a series of realistic characteristics that Bob Dylan will assume and integrate in his beginnings, but which will begin to dissolve progressively with the early advancement of his musical career.
- We are here». Indie cultural economics and auratic audiovisual authenticity(2019) Arnold, MichaelThis article investigates the cultural economics of the international indie scene with a special focus on the Seville-based four-piece indie neoflamenco band named Pony Bravo and specifically on the group?s prolific sonic and graphic montage visionary, Daniel Alonso Mallén. Pony Bravo draws on a variety of music traditions, connecting the sound and rhythm of the various marginalized «souths»: U.S. southern roots rock and blues, Andalusian rock, flamenco, African and Jamaican rhythms, etc. As they play with these traditions, the group uses their platform to fight for the right to do so: to borrow, to sample, to quote, to remix, to collage, to recycle the rhythms, melodies, harmonies, lyrics, ideas, and images of those creators and tricksters that came before them. With help from Walter Benjamin?s dichotomy between auratic and nonauratic artforms, this article explores the inflation of subcultural capital in indie music (through fan assimilation of nonauratic knowledge) and the elevation of the auratic live artifact as a reaction by those who would keep that currency in check. Daniel Alonso elevates the auratic moment captured as content within the nonauratic form of the archived online promotional poster. He simultaneously champions the demise of all forms of the nonauratic in his embrace of a sort of cultural capital socialism vis-à-vis creative commons (instead of intellectual property) licensing and his antagonistic stance toward the institutions (the SGAE) and legislation (la ley Sinde) that fight for the protection of national and international artists? IP rights.
