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Author:   Laura Miranda (University of Oviedo, Spain)
Publisher:   Taylor & Francis Ltd
Imprint:   Routledge
ISBN:  

9781032006390

ISBN 10:   1032006390
Pages:   362
Publication Date:   22 May 2026
Audience:   College/higher education ,  Tertiary & Higher Education
Format:   Paperback
Publisher's Status:   Forthcoming
Availability:   Not yet available  
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Table of Contents

Introduction: Past, present and future in Spanish film music studies Laura Miranda PART 1: First steps in sound in the 1930s 1 Synchronising voices and shadows: Music and the transition to sound cinema in Spain Julio Arce 2 National music for the silent screen: Sound and national identity in 1920s Spanish cinema Marta García Carrión 3 The cinematic zarzuela: Cross-media connections between theatre and film in Spain (1900–1963) Peter W. Schulze 4 Soundtracks for the Republic: Musical propaganda in documentary films during the Spanish Civil War Lidia López Gómez 5 A missing link between the cinema of the Second Spanish Republic and the first Franco period: Edgar Neville’s Verbena (Madrid Carnival, 1941) Christian Franco Torre PART 2: Music, ideology and power in the cinema of the early years of Francoism 6 It sings inside a sea on a map: Three periods of Latin American music in Spanish cinema (1930–1960) Marina Díaz López 7 Music, power and violence in NO-DO: Folkloric cultures in 1940s Francoist cinema Beatriz Busto Miramontes 8 ""Todos somos uno cuando del cante se trata"": The empathizing power of the copla Bohumira Smidakova 9 Fashion victims?: Women, costume design, and music in 1940s Spanish cinema Laura Miranda 10 Music for a plasterboard empire: Juan Quintero’s scores for Spanish historical films of the 1950s Joaquín López González 11 Copla, melodrama and star persona in 1950s Spanish cinema: Antonio Molina and Daniel Montorio Celsa Alonso 12 The arrival of the new Spanish cinema: The film collaborations of Isidro Maiztegui and Juan Antonio Bardem María Fouz Moreno 13 Text and context: Rodrigo’s Concierto de Aranjuez as film score Walter Aaron Clark PART 3: New (and old) rhythms from the aperturismo of the 1960s 14 El último cuplé?: Sara Montiel: A diva between two eras Enrique Encabo 15 Augusto Algueró and the cinema of ""child prodigy"" singers: A perfect symbiosis Sofía López Hernández 16 Buñuel is Back: Viridiana, music and religion in Spain in 1960 Laura Miranda 17 Music in non-fiction films: New practices in Spanish documentary soundtracks in the late Francoist era Diana Díaz González 18 The use of music in Carlos Saura’s fictional work (1960–1980): Narration and esthetics Marianne Bloch-Robin 19 The zarzuela in Spanish film of the 1960s and 1970s: From adaptation to reinterpretation Vicente Galbis López 20 Songs for a new day: Music as an aesthetic program in the cinema of Gonzalo García-Pelayo during the Spanish Transition Pablo Piedras and Dana Zylberman PART 4: Musical glocalisms in democratic Spain from the late twentieth century 21 This isn’t Hollywood... it’s not even close: Film composers in Spain: evolution of a profession Josep Lluís i Falcó 22 The generation of ’89: Moving toward a new concept of the film composer in Spain and looking back at harmony Sergio Lasuén 23 The soundtrack of the barrio in contemporary Spanish cinema: From Rumba to Latin and flamenco-trap Eduardo Viñuela 24 Rumbas and the acoustic experience of marginality in cine quinqui Tom Whittaker 25 The music of Alberto Iglesias in the films of Pedro Almodóvar: Intertextual dialogue and negotiating identities in The Skin I Live In (2011) Alberto Jiménez Arévalo 26 The acoustic imaginary in recent Spanish cinematic music Marvin D’Lugo 27 Spanish musical cinema in the 21st century: New models for new times Teresa Fraile 28 Transmedia storytelling and musical films: A case study of the Holy Camp! Phenomenon Cande Sánchez-Olmos 29 Music winners and losers Núria Triana Toribio

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Author Information

Laura Miranda is a Lecturer at the Department of Art History and Musicology, University of Oviedo, Spain.

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