Publication: La música como reivindicación de género en "Margarita y el lobo" de Cecilia Bartolomé
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2016-07
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Abstract
El carácter innovador y feminista del mediometraje "Margarita y el lobo" (1969) supuso la censura total de la película y el ostracismo hacia su directora, la entonces estudiante de la EOC, Cecilia Bartolomé. En este artículo repasamos sus anteriores cortometrajes para desgranar los primeros matices de protesta así como la utilización de la expresión musical como vehículo del discurso feminista en "Margarita y el lobo". A través de los planteamientos de la musicóloga Susan McClary que abordan sexualidad, género y feminismo concluimos con una visión del análisis de género en las obras musicales, al vincular sus estudios al film de Bartolomé. Del mismo modo, analizamos la función que cumple la música en el mediometraje. Para ello, examinamos el repertorio de canciones presentes en "Margarita y el lobo" para terminar reconociendo la función discursiva y referencial como piezas claves en la película de la directora.
The feminist disposition of "Margarita y el lobo" (1969) supposed the censorship of the film and the ostracism to its filmmaker, Cecilia Bartolomé, who was studing at the EOC. In this article we run over her previous short films to analyse first hints of protest in her work. Also, we want to find out how she used the musical expression to carry the feminist discourse out. Thanks to gender theory in musicology addressed by Susan McClary we are able to conclude a methodological vision of feminist analysis in music, exemplify by Bartolomé’s film. Similarly, we discuss the role of music in "Margarita y el lobo". So, we will examine each song accepting discursive and referential function as key pieces of the film director.
The feminist disposition of "Margarita y el lobo" (1969) supposed the censorship of the film and the ostracism to its filmmaker, Cecilia Bartolomé, who was studing at the EOC. In this article we run over her previous short films to analyse first hints of protest in her work. Also, we want to find out how she used the musical expression to carry the feminist discourse out. Thanks to gender theory in musicology addressed by Susan McClary we are able to conclude a methodological vision of feminist analysis in music, exemplify by Bartolomé’s film. Similarly, we discuss the role of music in "Margarita y el lobo". So, we will examine each song accepting discursive and referential function as key pieces of the film director.