Books > Arts & Architecture > Performing arts > Films, cinema > Film theory & criticism
|
Buy Now
Fado and the Urban Poor in Portuguese Cinema of the 1930s and 1940s (Hardcover)
Loot Price: R1,929
Discovery Miles 19 290
|
|
Fado and the Urban Poor in Portuguese Cinema of the 1930s and 1940s (Hardcover)
Series: Monografias A
Expected to ship within 12 - 19 working days
|
A compelling account of the role of Fado and the fadista in
Portuguese film and the wider culture. Colvin studies the evolution
of Fado music as the soundtrack to the Portuguese talkie. He
analyzes the most successful Portuguese films of the first two
decades of the Estado Novo era, showing how directors used the
national songto promote the values of the young Regime regarding
the poor inhabitants of Lisbon's popular neighborhoods. He
considers the aesthetic, technological, and social advances that
accompany the progress of the Estado Novo---Futurism;the
development of sound film; the inception of national radio
broadcast; access to the automobile; and urban renewal---within a
historical context that considers Portugal's global profile at the
time of Antonio de Oliveira Salazar's rise to power and the
inauguration of Antonio Ferro's Secretariado da Propaganda
Nacional; Portugal's role as a secret ally of the Falange during
the Spanish Civil War; Lisbon's role as a neutral refuge during
World War II; and the Portuguese colonial empire as an anachronism
in the post-World War II years. Colvin argues that Portuguese
directors have exploited the growing popularity of the Fado and
Lisbon's fadistas to dissuade citizens from alien values that
promote individual ambitions and the notion of an easy life of
poverty in the capital. As the public image of the Fado evolves,
the fadista's role in film becomes more prominent and eventually
the fadista is the protagonist and the Fado the principal concern
of national film. The author exposes the irony that as the social
profile of the Lisbon fadista improves with the international fame
of singer Amalia Rodrigues, Portuguese film perpetuates and
validates the outdated characterization of the fadista as a social
pariah that Leitao de Barros proposed in the first Portuguese
talkie, A Severa (1931). Michael Colvin is Associate Professor of
HispanicStudies at Marymount Manhattan College.
General
Is the information for this product incomplete, wrong or inappropriate?
Let us know about it.
Does this product have an incorrect or missing image?
Send us a new image.
Is this product missing categories?
Add more categories.
Review This Product
No reviews yet - be the first to create one!
|
You might also like..
|
Email address subscribed successfully.
A activation email has been sent to you.
Please click the link in that email to activate your subscription.