Between tradition and subversion. Treatment of folklorised musical references in the early feature films of Pedro Almodóvar

IF 0.2 0 MUSIC
Rastko Buljančević
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引用次数: 1

Abstract

The subject of this paper is the unconventional and highly subversive treatment of musical material of folkloric origin in the films of Pedro Almod?var: Pepi, Luci, Bom and Other Girls on the Heap (Pepi, Luci, Bom y otras chicas del mont?n, 1980) and Labyrinth of Passion (Laberinto de pasiones, 1982). These films are representative examples of the director?s experimental artistic poetics based on the interweaving of local and global cultural features. The focus is, therefore, on the folkloric elements of the Spanish and Catalan musical tradition and their transformation and recontextualisation in relation to the socio-political reality of post-fascist Spain. Consequently, well-known theatrical musical pieces and dances such as the pasodoble, zarzuela and sardana acquire transgressive qualities through an unusual play with traditional and postmodern signifiers, aimed at overthrowing conservative patriarchal authority under the Francoist regime.
在传统和颠覆之间。处理民间音乐参考在佩德罗的早期故事片Almodóvar
本文的主题是对佩德罗·阿尔莫德?var: Pepi, Luci, Bom和其他女孩在堆上(Pepi, Luci, Bom)《激情迷宫》(Laberinto de pasiones, 1982)。这些电影都是这位导演的代表作。基于本土与全球文化特征交织的实验艺术诗学。因此,重点是西班牙和加泰罗尼亚音乐传统的民俗元素及其与后法西斯西班牙社会政治现实相关的转型和重新背景化。因此,著名的戏剧音乐作品和舞蹈,如pasodoble, zarzuela和sardana,通过一种不同寻常的传统和后现代符号的游戏,获得了越界的品质,旨在推翻弗朗索瓦政权下的保守父权权威。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.20
自引率
0.00%
发文量
5
审稿时长
12 weeks
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