The use of music in Carlos Saura's fictional work (1960–1980): narration and esthetics

• Autores: Marianne Bloch-Robin
• Localización: The Routledge Handbook to Spanish Film Music / Laura Miranda González (ed. lit.), 2024, ISBN 9781003174974, págs. 216-225
• Idioma: español
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• Resumen

  • We shall analyze the evolution of both the narrative and esthetic roles of music in Carlos Saura's fictional films from his first feature, Los Golfos (1959), to Deprisa deprisa (1980). Huge variations in the use of music can be observed at the heart of the filmography of this Aragonese director. Nevertheless, even in works where the music has a limited presence, its role is crucial. Saura systematically paid meticulous attention to the music of his films, but the way he used it evolved, particularly with regard to the integration of original scores. Whereas in the first part of his career, composers would play an active part in his films (in particular Luis de Pablo), such collaborations gradually disappeared to make way for pre-existing musical pieces carefully selected by the director, who kept strict authorial control over his works. As of the 1980s, from the moment he began directing musical films, he once again embraced collaborations with a new generation of composers such as Roque Baños. We shall detail the evolution of music in his work from 1959 to 1980 by integrating it into the Spanish and international cinematographic, cultural and political context of each period.