The Routledge Handbook to Spanish Film Music provides a significant contribution to the research and history of Spanish film music, exploring the interdependence and ways in which discourses of sound and vision are constructed dialogically in Spanish cinema, with contributions from leading international researchers from Spain, the USA, the UK, France and Germany.
Offering a multifocal and multidisciplinary study between related areas such as music studies, film studies and Spanish cultural studies, this book is divided into four sections, covering the early years of Spanish cinema; the 1940s and 1950s in Spanish cinema—the first decades of the Franco dictatorship; the importance of Fraga Iribarne’s slogan, “Spain is different,” to promote Spain’s new openness to the world in the 1960s and 1970s; and Spanish cinema since the arrival of democracy in 1978, including discussion of contemporary Spanish cinema.
The growing interest in Spanish cinema calls for the publication of studies about the role of music in its political and socio-cultural framework. This is therefore a valuable text for music and film scholars and professionals, university undergraduates and music conservatory students.
Synchronising voices and shadows: music and the transition to sound cinema in Spain
págs. 13-24
National music for the silent screen: sound and national identity in 1920s spanish cinema
págs. 25-34
The cinematic zarzuela: cross-media connections between theatre and film in Spain (1900–1963)
págs. 35-44
Soundtracks for the Republic: musical propaganda in documentary films during the Spanish Civil War
págs. 45-56
A missing link between the cinema of the Second Spanish Republic and the first Franco period: Edgar Neville's Verbena (Madrid Carnival, 1941)
págs. 57-66
It sings inside a sea on a map: three periods of latin american music in spanish cinema (1930–1960)
págs. 69-80
Music, power and violence in NO-DO: folkloric cultures in 1940s Francoist cinema
págs. 81-91
“Todos somos uno cuando del cante se trata” 1: the empathizing power of the copla
págs. 92-103
Fashion victims?: women, costume design, and music in 1940s spanish cinema
págs. 104-116
Music for a plasterboard empire: Juan Quintero's scores for Spanish historical films of the 1950s
págs. 117-130
Copla, melodrama and star persona in 1950s Spanish cinema: Antonio Molina and Daniel Montorio
págs. 131-142
The arrival of the new Spanish cinema: the film collaborations of Isidro Maiztegui and Juan Antonio Bardem
págs. 143-154
págs. 155-166
págs. 169-178
Augusto Algueró and the cinema of “child prodigy” singers: A perfect symbiosis
págs. 179-191
págs. 192-205
Music in non-fiction films: new practices in Spanish documentary soundtracks in the late Francoist era
págs. 206-215
The use of music in Carlos Saura's fictional work (1960–1980): narration and esthetics
págs. 216-225
The zarzuela in Spanish film of the 1960s and 1970s: from adaptation to reinterpretation
págs. 226-235
Songs for a new day: music as an aesthetic program in the cinema of Gonzalo García-Pelayo during the Spanish Transition
págs. 236-248
This isn't Hollywood... it's not even close: film composers in Spain: evolution of a profession
págs. 251-261
The Generation of '89: moving toward a new concept of the film composer in Spain. Looking back at harmony
págs. 262-273
The soundtrack of the barrio in contemporary Spanish cinema: from Rumba to Latin and flamenco-trap
págs. 274-283
págs. 284-293
The music of Alberto Iglesias in the films of Pedro Almodóvar: intertextual dialogue and negotiating identities in La piel que habito (2011)
págs. 294-304
págs. 305-317
págs. 318-327
Transmedia storytelling and musical films: a case study of the Holy Camp! phenomenon
págs. 328-339
págs. 340-346
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