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In this volume, eighteen experts from a variety of academic backgrounds explore the use of songs in films from the Spanish- and Portuguese-speaking worlds. This volume illustrates how - rather than simply helping to tell the story of - songs in Hispanic and Lusophone cinema commonly upset the hierarchy of the visual over the aural, thereby rendering their hearing a complex and rich subject for analysis. Screening songs... constitutes a ground-breaking, interdisciplinary collection. Of particular interest to scholars and academics in the areas of Film Studies, Hispanic Studies, Lusophone Studies and Musicology, this volume opens up the study of Hispanic and Lusophone cinema to vital, new, critical approaches. The soundtracks of films as varied as City of God, All About My Mother, Bad Education and Buena Vista Social Club are analysed alongside those of lesser-known works that range from the melodramas of Mexican cinema's golden age to Brazilian and Portuguese musical comedies from the 1940s and 1950s. Fiction films are studied alongside documentaries, the work of established directors like Pedro Almodóvar, Carlos Saura and Nelson Pereira dos Santos alongside that of emerging filmmakers, and performances by iconic stars like Caetano Veloso and Chavela Vargas alongside the songs of Spanish Gypsy groups, Mexican folk songs and contemporary Brazilian rap.
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"When I seek the best of myself, I find music that lifts me above my fears and I also find understanding, convictions and hopes that support me over the depths of disbelief, indifference and intolerance." In addition to the piano, Túlio Mourão reveals mastery in literature by transforming trivial situations into good chronicles and printing the value of a historical document behind the scenes of Brazilian Popular Music.
Essays, travel journals, reflections, epigrams, visual poetry, lists, notes, paradoxes, compilations, critiques, stories, outlines, translations, palindromes, these are all the bricks with which, in the manner of a certain Chinese encyclopedia, a sort of epistemology of restriction and of the unusual is built. A necklace where no two pearls are alike: the bet, of course, is centered on the thread that ties them together. It gives the impression that the author, owner of a playful, penetrative gaze, is concerned with the poetic dimension of the pure forms of language and that absolutely nothing is alien to him.The result is an absolutely singual, stimulating, and highly entertaining book, which makes us gratefully abandon the place of our comfortable ideas. Luis Sagasti
Throughout his genre-defying career as one of the most innovative musicians of our time, iconoclastic guitar player Marc Ribot has consistently defied expectation at every turn. Here, in his first collection of writing, we see that same uncompromising sensibility at work as he playfully interrogates our assumptions about music, life, and death. Through essays, short stories, and the occasional unfilmable film “mistreatment” that showcase the sheer range of his voice, Unstrung captures an artist whose versatility on the page rivals his dexterity onstage. In the first section of the book, “Lies and Distortion,” Ribot turns his attention to his instrument—“my relation to the guitar is one of struggle; I’m constantly forcing it to be something else”—and reflects on his influences (and friends) like Robert Quine (The Voidoids) and producer Hal Willner (Saturday Night Live), while delivering an impassioned plea on behalf of artists’ rights. Elsewhere, we glimpse fragments of Ribot’s life as a traveling musician—he captures both the monotony of touring as well as small moments of beauty and despair on the road. In the heart of the collection, “Sorry, We’re Experiencing Technical Difficulties,” Ribot offers wickedly humorous short stories that synthesize the best elements of the Russian absurdist tradition with the imaginative heft of George Saunders. Taken together, these stories and essays cement Ribot’s position as one of the most dynamic and creative voices of our time.
What can you do with words? The book 'When to speak is to do' aims to answer the question, encouraging an interactive reading between parents and children, educators and learners. In the educational game of language, playing with words, they discover that saying is doing things. With words, one asserts, denies, asks, orders, advises, provokes reactions and feelings. So, when to speak is to do? According to the author, whoever knows how to answer, asks the question to remain silent.
Bululu is a clown who has done a lot in this life. He was a famous artist who knew places and people around the world. But, to be really happy, Bululu will need a little hand.
Heroes? Yes, they exist and are always ready to help us, whether in heaven or at the dinner table.
In this series, a compilation of texts by researchers and specialists seeks to sketch an updated and detailed panorama of Brazilian cinema. In this first volume, Brazilian cinema is analyzed from the 1910s onwards, addressing silent movies, the beginning of sound film, the chanchada (musical comedies) and the independent cinema of Rio de Janeiro in the 1930s-1950s, and the educational role of cinema in Getúlio Vargas’s government. The book concludes with an essay on Companhia Cinematográfica Vera Cruz, an important Brazilian film studio of the 1950s. Ebook version brings aditional texts: “Cinema in Rio Grande do Sul (1918-1934), by Glenio Povoas, and “Massaini, producer and distributor (1935-1992): a lesser known aspect of Brazilian cinema”, by Luciano Ramos.
