Canciones para despues de una guerra pelicula

dear zachary: a letter to a

The film consists of a series of archival images, all of them previously approved by the censors, on which popular songs of the time are superimposed in order to give a second, often satirical, meaning to what is shown on screen.[2] Basilio Martín Patino himself would later comment:

The coplas «Échale guindas al pavo», by Imperio Argentina, «La morena de mi copla» by Estrellita Castro, «La bien pagá» by Miguel de Molina, «Lerele» by Lola Flores, «Francisco Alegre» by Juanita Reina, the songs «Angelitos negros» by Antonio Machín, «Americanos» by Lolita Sevilla, «Lili Marleen» by Marlene Dietrich, «Raska Yu» by Bonet de San Pedro, «Mi vaca lechera» by Juan Manuel Torregrosa, or the tango «Limosna de amor», in the interpretation of García Guirao. [5][6]

a war of film songs

Indeed, the mixture between the documentary images censored in the past, and the propaganda of Franco’s government, reveals the differences between the model that is disseminated and the reality. Propaganda is like a mask.

In his 1976 film «Canciones para después de una guerra», director Basilio Martín Patino demonstrates the history of the Franco regime in Spain through a composition of documentaries, images, film clips, advertisements, and popular Spanish songs.

The cinematography is well done. In some parts it is a bit overwhelming because there is a clip from one movie and in the background there is a voice talking about something completely different. But overall, it’s visually satisfying. The images and sounds are a bouquet of culture, politics, and society. The film shows singers, bullfighters, anonymous individuals, and soldiers. It is a very broad mix of subjects. But, there is an overarching theme that unites these themes: illusion. I know that Franco’s times were very difficult times, especially in the repression of human rights. One interpretation of this film is that popular culture, victory songs, and people’s smiling faces hide the reality and misery of many people. These times were difficult, but in appearance, they do not sow so.

el sur

La película documenta canciones populares en el periodo inmediatamente posterior al final de la Guerra Civil española, en 1939, pero al reeditar las imágenes, Patino consigue dislocarlas de su propósito e intención originales, revelando nuevas lecturas, significados y preguntas.

Canciones para después de una guerra consiste en un collage de signos rescatados del olvido; Canciones de exaltación patriótica, devoción religiosa y voces victoriosas. Insólita y atrevida, disidente respecto a cualquier normativa, cánones académicos o estéticos, esta obra maestra conmocionó a toda la sociedad española, independientemente de la edad y las inclinaciones políticas.

belle époque

Spanish filmmaker Basilio Martín Patino’s documentaries show a number of textual and political issues and conflicts. The aim of this paper is to study the following features in three particular films (Canciones para después de una guerra, Madrid y Libre te quiero): fiction vs. nonfiction narrative; the political depiction of the city of Madrid; and the tools of censorship in different contexts. Martín Patino’s discourse has been critical with mainstream industries and narratives throughout his career and thus has been sidelined within the different cultural systems both in dictatorships and democratic regimes.

3The documentary genre is traditionally relegated to minority theaters or directly to distribution in domestic formats. However, after the Bowling for Columbine phenomenon, not only has there been an increase in the release of documentary films in commercial theaters, but it has also become a genre that is usually a major success. In addition, this has allowed for greater continuity to be given to documentaries, since their practice has been, throughout history, minority and accidental. Given that most of the history of cinema is nourished by fiction films, the documentary had become a marginal or underground genre.