Rolando,Gloria (Author), Grupo de Video "Imagenes del Caribe" en colaboración con "Videoteca del Sur" (Editor), Monse Duane, Sonia Boggiano, Zoraima Segón, Renny Arozarena, Luz Ma. Collazo, Jorge Prieto, Aimeé Despaigne, Nora Rodríguez, Manuel Oña (Series Editor), and Maria Josefa Gómez (Translator)
Format:
Video/DVD
Publication Date:
2001
Published:
Arlington, MA: AfroCubaWeb.com
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Journal Title Details:
DVD video 1 videodisc (49 min.)
Notes:
This drama follows a young Cuban woman investigating her family history, and discovering disturbing revelations about the 1912 genocide, in which over 6,000 members of the Independents of Color were killed by the Cuban Army
Considers the role of music, both symbolic and material, in screen representations of Rio de Janeiro since the 1950s. The music of Rio's streets and hillsides has played more than a mere supporting role in the cinematic representations of the city across the last half-century. Embracing samba, bossa nova, MPB, soul, funk, funk carioca (a local variant of Miami bass), and rap, the heterogeneous voices of Rio's soundscape have arguably shaped audiences' understanding and imagination of its cultural geography and social dynamic as much as the films' visual narratives and dramas. The author discusses some key examples spanning the last 50 years, from Nelson Pereira dos Santos's Rio, Zona Norte (Rio, North Zone, 1957) and Marcel Camus's Orfeu negro (Black Orpheus, 1959), to Carlos Diegues's remake Orfeu (Orpheus, 1999) and Fernando Meirelles and Kátia Lund's Cidade de Deus (City of God, 2002). Taking as his point of departure the mythical narrative of Orpheus, he explores the representation of popular music as a force for social redemption, regeneration, and reconciliation. He interrogates the interplay of different musical styles and idioms, such as samba and bossa nova, on screen, and challenges one of the common assumptions about shifts in style and sound: the idea that the harder soundtracks of most recent films (centering on rap and funk carioca) correspond to a necessarily more realistic and truthful representation of the city, as opposed to the allegedly sentimentalized depictions associated with the bossa nova-influenced scores of Orfeu negro and Rio, Zona Norte. In cinematic representations of the city, Rio's musical identity continues to be performed in a dialogue between tradition and innovation, the local and the diasporic, with no song style being more real than any other.
