Hello Friends, Cantemos

During the 1930s and 1940s, the Hollywood industry, with the support of the US State Department, produced an enormous amount of propaganda films with themes around Latin America. In these productions, music played a fundamental role, being one of the most persuasive and strategic resources that the...

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第一著者: Carlos Poveda, Juan
フォーマット: Online
言語:スペイン語
出版事項: Ariadna Ediciones 2024
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オンライン・アクセス:ONIX_20240709_9789566276074_8
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author Carlos Poveda, Juan
author_browse Carlos Poveda, Juan
author_facet Carlos Poveda, Juan
author_sort Carlos Poveda, Juan
collection Directory of Open Access Books
description During the 1930s and 1940s, the Hollywood industry, with the support of the US State Department, produced an enormous amount of propaganda films with themes around Latin America. In these productions, music played a fundamental role, being one of the most persuasive and strategic resources that the government and the film industry had to appeal to the emotionalities of their audiences, in order to favor a project of hegemony. Assuming as a problem the weak presence of the sound dimension – and within this, the musical dimension – within the academic literature that addresses this phenomenon, this research proposes a rereading, from the musical point of view, of a representational phenomenon that meant, among other things, the configuration of what from then on is understood in the global music industry as “Latin music”
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spelling doab-20.500.12854ir-1401592024-07-10T05:01:01Z Hello Friends, Cantemos Carlos Poveda, Juan Latin America music cinema national cultures thema EDItEUR::A The Arts::AV Music::AVM History of music During the 1930s and 1940s, the Hollywood industry, with the support of the US State Department, produced an enormous amount of propaganda films with themes around Latin America. In these productions, music played a fundamental role, being one of the most persuasive and strategic resources that the government and the film industry had to appeal to the emotionalities of their audiences, in order to favor a project of hegemony. Assuming as a problem the weak presence of the sound dimension – and within this, the musical dimension – within the academic literature that addresses this phenomenon, this research proposes a rereading, from the musical point of view, of a representational phenomenon that meant, among other things, the configuration of what from then on is understood in the global music industry as “Latin music” 2024-07-10T05:00:59Z 2024-07-10T05:00:59Z 2024-07-09T13:08:06Z 2023 book ONIX_20240709_9789566276074_8 https://library.oapen.org/handle/20.500.12657/92050 9789566276074 https://directory.doabooks.org/handle/20.500.12854/140159 spa open access image/jpeg Attribution 4.0 International https://library.oapen.org/bitstream/20.500.12657/92050/1/9789566276074.pdf Ariadna Ediciones 10.26448/ae9789566276074.87 10.26448/ae9789566276074.87 816ec0e1-0591-4955-8512-dcec49f798d8 9789566276074 208 Santiago open access
spellingShingle Latin America
music
cinema
national cultures
thema EDItEUR::A The Arts::AV Music::AVM History of music
Carlos Poveda, Juan
Hello Friends, Cantemos
title Hello Friends, Cantemos
title_full Hello Friends, Cantemos
title_fullStr Hello Friends, Cantemos
title_full_unstemmed Hello Friends, Cantemos
title_short Hello Friends, Cantemos
title_sort hello friends cantemos
topic Latin America
music
cinema
national cultures
thema EDItEUR::A The Arts::AV Music::AVM History of music
topic_facet Latin America
music
cinema
national cultures
thema EDItEUR::A The Arts::AV Music::AVM History of music
url ONIX_20240709_9789566276074_8
work_keys_str_mv AT carlospovedajuan hellofriendscantemos