Book contents
- Frontmatter
- Contents
- List of figures
- Contributors
- Acknowledgements
- Introduction
- 1 Singing of dubious desire: Imperio Argentina and Penélope Cruz as Nazi Germany’s exotic Other
- 2 Voicing gender: transgender performance and the national imaginary in the Spanish cinema of the democratic era
- 3 Bien pagá: popular song in the films of Pedro Almodóvar
- 4 El otro lado de la cama: remixed Transition (1973–82)
- 5 On the function of punk aesthetics in Salto al vacío and Historias del Kronen
- 6 Mobile soundscapes in the quinqui film
- 7 Song-shaped cinema: the performance of Gypsy and Basque songs in relation to film form
- 8 Travelling song: music, iteration and translation in La leyenda del tiempo
- 9 Sound moves: immigration and music in Cosas que dejé en La Habana
- 10 The Afro-Cuban soundscape of Mexico City: authenticating spaces of violence and immorality in Salón México and Víctimas del pecado
- 11 Blues traveller: Habana Blues and the framing of diasporic cubanía
- 12 Dancing in the dark: Saura’s Tango
- 13 Re-making Frida Kahlo through song in Frida
- 14 ‘Silence! Fado is about to be sung’: fado and the comédia à portuguesa
- 15 Sounds from Brazil: brasilidade and the rise of the music documentary
- 16 Soundtrack to roguery: music and malandragem in the city
- 17 The Brazilian chanchada’s musical moments and the performance of identity
- 18 Orpheus in Babylon: music, myth and realism in the fi lms of Rio de Janeiro
- Index
16 - Soundtrack to roguery: music and malandragem in the city
Published online by Cambridge University Press: 30 December 2025
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Book contents
- Frontmatter
- Contents
- List of figures
- Contributors
- Acknowledgements
- Introduction
- 1 Singing of dubious desire: Imperio Argentina and Penélope Cruz as Nazi Germany’s exotic Other
- 2 Voicing gender: transgender performance and the national imaginary in the Spanish cinema of the democratic era
- 3 Bien pagá: popular song in the films of Pedro Almodóvar
- 4 El otro lado de la cama: remixed Transition (1973–82)
- 5 On the function of punk aesthetics in Salto al vacío and Historias del Kronen
- 6 Mobile soundscapes in the quinqui film
- 7 Song-shaped cinema: the performance of Gypsy and Basque songs in relation to film form
- 8 Travelling song: music, iteration and translation in La leyenda del tiempo
- 9 Sound moves: immigration and music in Cosas que dejé en La Habana
- 10 The Afro-Cuban soundscape of Mexico City: authenticating spaces of violence and immorality in Salón México and Víctimas del pecado
- 11 Blues traveller: Habana Blues and the framing of diasporic cubanía
- 12 Dancing in the dark: Saura’s Tango
- 13 Re-making Frida Kahlo through song in Frida
- 14 ‘Silence! Fado is about to be sung’: fado and the comédia à portuguesa
- 15 Sounds from Brazil: brasilidade and the rise of the music documentary
- 16 Soundtrack to roguery: music and malandragem in the city
- 17 The Brazilian chanchada’s musical moments and the performance of identity
- 18 Orpheus in Babylon: music, myth and realism in the fi lms of Rio de Janeiro
- Index
Summary
One of the most popular samba compositions of the Rio de Janeiro carnival in 1942 was 'Praça Onze' (Eleventh Square). Through its narrative, and its visual and musical treatment of samba, Berlim na batucada rejected the symbolic economy of space generated by the state and the culture industry. Samba was the obvious choice as the soundtrack to cinematic representations of the malandro, given that a sub-genre of samba since the 1920s was devoted to celebrating his wit, courage and independence of spirit. Malandros were a product of a post-abolition society whose preference for European immigrant labour sidelined Afro-descendents from the job market, compelling many to live off illegal activities, or their wits. This culture of roguery encompassed a gamut of anti-social behaviours, such as womanising, illegal gambling, street fighting and petty crime. In addition to urbanisation processes aimed at socio-spatial stratification, malandragem was also controlled through day-to-day policing activities.
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- Screening songs in Hispanic and Lusophone cinema , pp. 264 - 282Publisher: Manchester University PressFirst published in: 2025
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