Carolina Rocha
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781786940544
- eISBN:
- 9781786944955
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781786940544.003.0007
- Subject:
- Film, Television and Radio, Film
In this chapter, I trace the motivations and trials faced by Manuel Antín in adapting Don Segundo Sombra to the silver screen. I discuss its casting, production and reception. I also analyse the ...
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In this chapter, I trace the motivations and trials faced by Manuel Antín in adapting Don Segundo Sombra to the silver screen. I discuss its casting, production and reception. I also analyse the film, paying attention to the coming of age a gaucho.Less
In this chapter, I trace the motivations and trials faced by Manuel Antín in adapting Don Segundo Sombra to the silver screen. I discuss its casting, production and reception. I also analyse the film, paying attention to the coming of age a gaucho.
Carolina Rocha
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781786940544
- eISBN:
- 9781786944955
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781786940544.003.0008
- Subject:
- Film, Television and Radio, Film
I provide an overview and analysis of Santos Vega, a less successful film that nonetheless belongs to the gauchesque genre. I propose that its innovation revolves around the use of songs to stress ...
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I provide an overview and analysis of Santos Vega, a less successful film that nonetheless belongs to the gauchesque genre. I propose that its innovation revolves around the use of songs to stress the film’s message.Less
I provide an overview and analysis of Santos Vega, a less successful film that nonetheless belongs to the gauchesque genre. I propose that its innovation revolves around the use of songs to stress the film’s message.
Michela Coletta
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781786941312
- eISBN:
- 9781789629040
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781786941312.003.0003
- Subject:
- History, Latin American History
The emergence of literary and cultural criollismo has usually been looked at in the context of early-twentieth-century nationalism. While these analyses have contributed to a better understanding of ...
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The emergence of literary and cultural criollismo has usually been looked at in the context of early-twentieth-century nationalism. While these analyses have contributed to a better understanding of the extent to which early-twentieth-century responses to immigration shaped the political debate over the following decades, they seem to underestimate the pervasiveness of civilisational constructs at the turn of the century, thus failing to fully appreciate the specific contexts in which the first coherent attempts to come to terms with ideas of the modern were made. Breaking away from previous interpretations that look at the early-twentieth-century discourse about the nation almost exclusively in terms of a reaction to the phenomenon of mass immigration, this chapter focuses on the turn-of-the-century period and shows that, both in the River Plate and in Chile, discourses of the autochthonous primarily originated in response to the hegemonic outward-looking idea of modern civilisation. The chapter analyses the shift from the idea of a barbaric past to that of rural tradition. The countryside was used to counterbalance the refined and decadent urban civilisation based on European cultural models.Less
The emergence of literary and cultural criollismo has usually been looked at in the context of early-twentieth-century nationalism. While these analyses have contributed to a better understanding of the extent to which early-twentieth-century responses to immigration shaped the political debate over the following decades, they seem to underestimate the pervasiveness of civilisational constructs at the turn of the century, thus failing to fully appreciate the specific contexts in which the first coherent attempts to come to terms with ideas of the modern were made. Breaking away from previous interpretations that look at the early-twentieth-century discourse about the nation almost exclusively in terms of a reaction to the phenomenon of mass immigration, this chapter focuses on the turn-of-the-century period and shows that, both in the River Plate and in Chile, discourses of the autochthonous primarily originated in response to the hegemonic outward-looking idea of modern civilisation. The chapter analyses the shift from the idea of a barbaric past to that of rural tradition. The countryside was used to counterbalance the refined and decadent urban civilisation based on European cultural models.
Keith Waters
- Published in print:
- 2019
- Published Online:
- July 2019
- ISBN:
- 9780190604578
- eISBN:
- 9780190604608
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190604578.003.0002
- Subject:
- Music, Theory, Analysis, Composition
Wayne Shorter remains one of the most significant jazz composers of the 1960s, with challenging compositions noted for their harmonic and formal ambiguity. “El Toro” (Art Blakey, Freedom Rider) uses ...
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Wayne Shorter remains one of the most significant jazz composers of the 1960s, with challenging compositions noted for their harmonic and formal ambiguity. “El Toro” (Art Blakey, Freedom Rider) uses a major third axis progression in a 16-bar form, but the melodic structure cuts against an 8 + 8-bar regularity; “Virgo” (Night Dreamer) relies on a 29-bar ABAC form with irregular phrase lengths. A comparison of “Penelope” (Etc) and “El Gaucho” (Adam’s Apple) shows that they begin with a nearly identical melody, but Shorter subjects each to radically different harmonic environments. “Pinocchio” (Miles Davis, Nefertiti) is an 18-bar composition. Its major third axis uses postbop substitution strategies that echo more-conventional progressions. “Face of the Deep” (The All-Seeing Eye) is one of Shorter’s more exploratory compositions: it links to the jazz avant-garde, and its scoring for three horns reveals an expanded vocabulary of upper structure harmonies.Less
Wayne Shorter remains one of the most significant jazz composers of the 1960s, with challenging compositions noted for their harmonic and formal ambiguity. “El Toro” (Art Blakey, Freedom Rider) uses a major third axis progression in a 16-bar form, but the melodic structure cuts against an 8 + 8-bar regularity; “Virgo” (Night Dreamer) relies on a 29-bar ABAC form with irregular phrase lengths. A comparison of “Penelope” (Etc) and “El Gaucho” (Adam’s Apple) shows that they begin with a nearly identical melody, but Shorter subjects each to radically different harmonic environments. “Pinocchio” (Miles Davis, Nefertiti) is an 18-bar composition. Its major third axis uses postbop substitution strategies that echo more-conventional progressions. “Face of the Deep” (The All-Seeing Eye) is one of Shorter’s more exploratory compositions: it links to the jazz avant-garde, and its scoring for three horns reveals an expanded vocabulary of upper structure harmonies.
