Buena Vista Social Club e Café de los Maestros: duas narrativas sobre música e memória em Cuba e Argentina

• Autores: Astréia Soares, Claudia Adrianzen Lapouble
• Localización: Avanca / Cinema 2012 / Cine Clube de Avanca (dir.), 2012, ISBN 978-989-96858-2-6, págs. 480-485
• Idioma: varios idiomas
• Texto completo no disponible (Saber más ...)
• Resumen

  • This paper analyses two documentary movies Buena Vista Social Club (Win Wenders/Ry Cooder/1999) and Caféde los Maestros (Gustavo Santaolalla e Miguel Kohan/2008) which represent in a very similar cinematographystructure two narratives on different musical traditions in Cuba and Argentina, on the first half of the 20th Century.They bring to the contemporary screens images and the art of musicians that in both countries where at the topof their artistic production around 1940 and 1950, before meaningful politic changes that happened after in Cubaas well as in Argentina. However, although the films do not have an explicit intention to discuss political and socio-cultural contexts, they can be taken as privileged document sources to get ideological meanings. Based on theanalyzes of the two documentaries It is possible to approximate Cuban and Argentinean musical environment(named “The Golden Age” in both countries) to other urban scenes such as the cultural roll of music or the daily lifeof singers, composers, regents and musicians in Cuba and Argentina societies. Beyond of that, is also possible toextend the interpretation of those documentaries to the comprehension of the memories they bring up. While BuenaVista Social Club brings to contemporary scene musicians left in shadows after the rise of a new political ideologythat considered them an expression of bourgeoisie aesthetic, Cafe de los Maestros saves a memory of musicalscene that probably loses place to cultural industry imposition.