Miguel de Molina dans Ésta es mi vida (1952) de Román Viñoly Barreto : le cinéma, de concert avec la musique, ou les multiples possibles du vrai et du faux
This article aims to show how Román Viñoly Barreto's Argentine feature-length fiction film Ésta es mi vida (1952) is an example of a specific, inventive and sophisticated cinematographic staging of the art of music transubstantiated on the big screen. It also coincides with the second career of...
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| Language: | fra |
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Pléiade (EA 7338)
2024-07-01
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| Series: | Itinéraires |
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| Online Access: | https://journals.openedition.org/itineraires/14943 |
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| author | Emmanuel Le Vagueresse |
| author_facet | Emmanuel Le Vagueresse |
| author_sort | Emmanuel Le Vagueresse |
| collection | DOAJ |
| description | This article aims to show how Román Viñoly Barreto's Argentine feature-length fiction film Ésta es mi vida (1952) is an example of a specific, inventive and sophisticated cinematographic staging of the art of music transubstantiated on the big screen. It also coincides with the second career of the Spanish copla singer Miguel Frías de Molina (Málaga, 1908-Buenos Aires, 1993), after a very difficult period for him. The result on screen is both surprising and compelling, not only for the liberties the musical takes with the artist’s “real” biography – liberties that any art form is, of course, entitled to take. It is worth noting that the film also achieves a kind of “total spectacle”, similar to what Wagner wished with his operas in Bayreuth, following the project of “Gesamtkunstwerk” – “total work of art”, in German – developed by the German Romantics in the 19th century. Ésta es mi vida could thus be described as a hybrid film, one that is located on the verge of intermediality, between music (and song, dance) and film; that plays with genres (see the occurrences of play in the film), and presents more or less faithful reflections and mise en abyme of the same kind, to the greatest delight of both spectators and researchers. |
| format | Article |
| id | doaj-art-ae2ee1b19ca84a6e80b9f0d85f7583a7 |
| institution | DOAJ |
| issn | 2427-920X |
| language | fra |
| publishDate | 2024-07-01 |
| publisher | Pléiade (EA 7338) |
| record_format | Article |
| series | Itinéraires |
| spelling | doaj-art-ae2ee1b19ca84a6e80b9f0d85f7583a72025-08-20T03:07:47ZfraPléiade (EA 7338)Itinéraires2427-920X2024-07-012023110.4000/121sfMiguel de Molina dans Ésta es mi vida (1952) de Román Viñoly Barreto : le cinéma, de concert avec la musique, ou les multiples possibles du vrai et du fauxEmmanuel Le VagueresseThis article aims to show how Román Viñoly Barreto's Argentine feature-length fiction film Ésta es mi vida (1952) is an example of a specific, inventive and sophisticated cinematographic staging of the art of music transubstantiated on the big screen. It also coincides with the second career of the Spanish copla singer Miguel Frías de Molina (Málaga, 1908-Buenos Aires, 1993), after a very difficult period for him. The result on screen is both surprising and compelling, not only for the liberties the musical takes with the artist’s “real” biography – liberties that any art form is, of course, entitled to take. It is worth noting that the film also achieves a kind of “total spectacle”, similar to what Wagner wished with his operas in Bayreuth, following the project of “Gesamtkunstwerk” – “total work of art”, in German – developed by the German Romantics in the 19th century. Ésta es mi vida could thus be described as a hybrid film, one that is located on the verge of intermediality, between music (and song, dance) and film; that plays with genres (see the occurrences of play in the film), and presents more or less faithful reflections and mise en abyme of the same kind, to the greatest delight of both spectators and researchers.https://journals.openedition.org/itineraires/14943intermedialitymusicalreflectiondoubletrue/falsemise en abyme |
| spellingShingle | Emmanuel Le Vagueresse Miguel de Molina dans Ésta es mi vida (1952) de Román Viñoly Barreto : le cinéma, de concert avec la musique, ou les multiples possibles du vrai et du faux Itinéraires intermediality musical reflection double true/false mise en abyme |
| title | Miguel de Molina dans Ésta es mi vida (1952) de Román Viñoly Barreto : le cinéma, de concert avec la musique, ou les multiples possibles du vrai et du faux |
| title_full | Miguel de Molina dans Ésta es mi vida (1952) de Román Viñoly Barreto : le cinéma, de concert avec la musique, ou les multiples possibles du vrai et du faux |
| title_fullStr | Miguel de Molina dans Ésta es mi vida (1952) de Román Viñoly Barreto : le cinéma, de concert avec la musique, ou les multiples possibles du vrai et du faux |
| title_full_unstemmed | Miguel de Molina dans Ésta es mi vida (1952) de Román Viñoly Barreto : le cinéma, de concert avec la musique, ou les multiples possibles du vrai et du faux |
| title_short | Miguel de Molina dans Ésta es mi vida (1952) de Román Viñoly Barreto : le cinéma, de concert avec la musique, ou les multiples possibles du vrai et du faux |
| title_sort | miguel de molina dans esta es mi vida 1952 de roman vinoly barreto le cinema de concert avec la musique ou les multiples possibles du vrai et du faux |
| topic | intermediality musical reflection double true/false mise en abyme |
| url | https://journals.openedition.org/itineraires/14943 |
| work_keys_str_mv | AT emmanuellevagueresse migueldemolinadansestaesmivida1952deromanvinolybarretolecinemadeconcertaveclamusiqueoulesmultiplespossiblesduvraietdufaux |