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Mónica Tovar-Vicente
Becaria FPU Dpto. Comunicación Audiovisual y Publicidad II
Universidad Complutense de Madrid
monica.tovar.vicente@gmail.com
426 FRONTERAS REALES, FRONTERAS IMAGINADAS
Resumen
La filmografía de Pedro Almodóvar, uno de los cineastas españoles con mayor reconocimiento
mundial, se caracteriza, entre otros aspectos, por la relevancia de su componente musical. Con una
naturaleza moldeada por el incremento del número de películas constituyentes y, al mismo tiempo,
por la maduración autoral de quien las firma, se inicia con la presencia predominante del bolero, uno
de los géneros melódicos latinoamericanos por antonomasia, pasando por un período sustentado en
el diálogo chanson française-música popular (entendiendo que el primer concepto agrupa, a grandes
rasgos, a las composiciones con letra interpretadas a un tempo lento o medio y cuya temática es
amorosa; mientras que el segundo acoge a las partituras calificadas por los géneros pop, rock y,
al mismo tiempo, a las prototípicamente españolas) y llegando a otro en el que el sello indie es su
máximo representante. Un ejercicio combinatorio que refleja, desde y entre múltiples perspectivas,
la realidad de la música fílmica contemporánea (Inglis, 2003; Reay, 2004), el establecimiento de
la misma como uno de los estilemas autorales del realizador manchego (Allinson, 2006; Sotinel,
2010; Strauss, 2004), la constitución de sonidos, tendencias y géneros populares identificados bajo
el distintivo de «geográficos» (Fraile, 2010; Gértrudix, 2003) y el mantenimiento de las sinergias
establecidas entre las industrias disco y cinematográficas (Frith, 2006), evidencia de un feedback
de influencias que se manifiesta en acciones promocionales.
Echoes of «glocalization» of popular music: the mestizo identity of film songs of Pedro
Almodóvar
Abstract
Pedro Almodóvar’s films, one of the most important Spanish filmmakers from a worldwide recog-
nition, are characterized, among other aspects, by the relevance of their musical component. With
a nature moulded by the increment of the number of the constituent productions and, equally, by
the authorial maturation of who sign them, his work begins with the predominant presence of the
bolero, one of the Latin American melodic styles par excellence, continues throughout a period
based on the dialogue chanson française-popular music (considering that the first concept gathers,
more or less, all the songs interpreted with a slow or medium tempo and a romantic thematic; while
the second refers to the musical creations qualified as pop, rock and, at the same time, these other
typically Spanish) and achieves a status where the indie is the principal model. A combinatory
exercise that reflects, from and between multiples perspectives, the reality of the contemporary
cinematographic music (Inglis, 2003; Reay, 2004), her establishment as one of the fundamental
manchego’s authorial landmark (Allinson, 2006; Sotinel, 2010; Strauss, 2004), the constitution of
sounds, tendencies and popular genres identified as «geographic» (Fraile, 2010; Gértrudix, 2003)
and the maintenance of synergies established among the disco and filmic industries (Frith, 2006),
evidence of a feedback of influences that denotes the promotional actions.
This article delves into the 19 Almodóvar’s films released until nowadays taking as analytic referent
the concept of «glocalization» proposed by Sonia Fernández (2001) and through which it can
recognize the double flow of acceptation and application, because the local is globalizated, exceeds
ECOS DE LA GLOCALIZACIÓN DE LA MÚSICA POPULAR: LA IDENTIDAD… 427
its original barriers of knowledge; while, in the same manner, the inverse effect takes place: the
worldwide, the general is assumed in the perimeter of a less dimensions scene. A reduction which
denotes the diffused category of the music-cultural frontiers in a specific artistic field as this one
of the seventh art.
Referencias bibliográficas
ALLINSON, Mark. A Spanish labyrinth: the films of Pedro Almodóvar. Londres,
Nueva York: I.B. Tauris, 2006.
INGLIS, Ian (Ed.). Popular music and film. Londres: Wallflower Press, 2003.
REAY, Pauline. Music in film. Soundtracks and synergy. Londres: Wallflower Press,
2004.