When Music Speaks For the Characters: Diegetic Romantic Songs in Three Contemporary Brazilian Films
There is a movement in contemporary Brazilian romantic cinema in which national popular songs play a leading role as the core of the plot, putting together certain aspects of the narrative. That is particularlly the case of the three films that will be analyzed in this article: Paraíso Perdido (2018...
| Autores: | , |
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2022 |
| País: | Brasil |
| Institución: | Universidade Federal do Rio de Janeiro (UFRJ) |
| Repositorio: | Revista Eco-Pós (Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.revistaecopos.eco.ufrj.br:article/27833 |
| Acceso en línea: | https://revistaecopos.eco.ufrj.br/eco_pos/article/view/27833 |
| Access Level: | acceso abierto |
| Palabra clave: | canção popular amor romântico trilha musical popular song romantic love soundtrack |
| Sumario: | There is a movement in contemporary Brazilian romantic cinema in which national popular songs play a leading role as the core of the plot, putting together certain aspects of the narrative. That is particularlly the case of the three films that will be analyzed in this article: Paraíso Perdido (2018), by Monique Gardenberg; Todas as Canções de Amor (2018), by Joana Mariani and Música para Morrer de Amor (2019), by Rafael Gomes. Considering that popular songs have a poetic text associated with it, we aim to analyze the use of these love themes as a sub-script of contemporary Brazilian films, as they contribute to tell the story of those love couples and to reveal signs of their personalities. We will observe how in the three films there is a crisis between the desire for romantic love (explicit in the songs) and contemporary love, marked by fluidity, independence and disbelief in marriage. |
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