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Música Cubana en el cine Americano y Europeo

Música Cubana en el cine Americano y Europeo

          
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About the Book

Es imposible pensar en la Época de Oro del cine mexicano sin "las rumberas cubanas" que activó el mambo del cubano Dámaso Pérez Prado en los años cuarenta; es imposible, pensar en Hollywood de los años cincuenta sin sus grandes actrices convertidas en estrellas como Rita Hayworth, Abbe Lane, Marilyn Monroe, Esther Williams o Fred Astaire, o musicales como West Side Story; es imposible, pensar en el cine Europeo sin Silvana Mangano, Sofia Loren, Brigitte Bardot o Anita Ekberg. Todos estos imposibles tienen una sola cosa en común, que todas estas mujeres y hombres bailaron rumba, son, mambo y chachachá en sus películas más conocidas, ritmos cubanos que se consolidaron a nivel mundial entre finales de los años treinta y los años sesenta del siglo XX.
Este libro se pregunta por qué Sofia Loren baila la canción: mambo italiano, en el film Pane, Amore e..., y dice que es un ritmo brasileño siendo cubano; de por qué La Dulce Vita (1960) con Mastroniani y Anita Ekberg, el mambo y chachachá son vitales en su trama, y cómo Bruce Lee antes de ser conocido como karateca fue el rey del chachachá en una película. Sin olvidar la fascinación de Marlon Brandon o Nat King Cole por los ritmos cubanos viajando a la isla para tocarlos o contarlos mientras que allí Benny Moré o Celia Cruz reinaban con boleros, mambos y sones por los cabarets cubanos que luego eran llevados al cine cubano y mexicano.
Cuenta qué pasó en Cuba con las bandas sonoras del cine socialista desde la llegada por las armas de Fidel Castro.
Un libro que puede leerse e ir verificando sus argumentos con las canciones en Youtube y rememorar ser vintage mientras leemos, aunque también se analiza qué pasó en la isla con el cine revolucionario e independiente con la música hasta nuestros días. De eso se trata.
Después de escribir este libro, no es difícil resumir que existe un triunvirato de ritmos cubanos que han triunfado en el cine a nivel universal, la rumba, el mambo, y el bolero; y sin dudas, existe también un triunvirato de compositores que lo demuestran: Dámaso Pérez Prado, Ernesto Lecuona y Oswaldo Farrés; estos ritmos y autores se pueden encontrar en todas las décadas del último y único siglo de cine sonoro en el mundo, al menos en tres continentes: América, Europa y Asia, esto hace que la música cubana a nivel histórico, sea sin dudas el empoderamiento más grande de nuestra cultura a nivel universal como lo ha sido el tabaco o el ron desde el siglo XIX.
La culpa de que no siempre todos la identifiquen en el cine como cubana, es sin dudas a que en los últimos sesenta años y tres años desde 1959, la revolución cubana no hace promoción de los músicos que abandonaron la isla cuando ellos tomaron el poder con un golpe militar, como el propio Lecuona, Farrés y Pérez Prado.
El libro incluye varios Qr, que el lector si no lo desea puede ver con el móvil fragmentos de cine, cubano, mexicano, francés que respalda con argumentos de visual media la esencia de este libro.
(Este libro cuenta con varios QR que ilustran a nivel musical varios géneros musicales que aquí se explican complementando la lectura y agilizando -código de respuesta rápida- al lector escuchar una referencia sin salir de la lectura.)

Arsenio Rodríguez Quintana
Sant Cugat del Vallès, 2024

Editor.


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Product Details
  • ISBN-13: 9798647759726
  • Publisher: Amazon Digital Services LLC - KDP Print US
  • Publisher Imprint: Independently Published
  • Height: 203 mm
  • No of Pages: 158
  • Series Title: La Música Cubana y su Vínculo Con Europa
  • Weight: 177 gr
  • ISBN-10: 8647759729
  • Publisher Date: 28 Feb 2022
  • Binding: Paperback
  • Language: Spanish
  • Returnable: N
  • Spine Width: 9 mm
  • Width: 127 mm


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