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
5 - On the function of punk aesthetics in Salto al vacío and Historias del Kronen
Published online by Cambridge University Press: 30 December 2025
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
Salto al vacío and Historias del Kronen are products of a cultural environment which reflects the transition from the creative generation of la movida of the 1980s to the new writers and filmmakers of the 1990s. This chapter explores the presence of punk aesthetics in Salto al vacío and Historias del Kronen in the theoretical context of New Punk Cinema. Salto al vacío offers a portrait of the hopelessness of Basque youth. Historias del Kronen displays a musical preference on the part of its protagonists for bakalao or máquina music. It is important to conclude, therefore, that while generational conflict is nothing new, what is unique in Salto al vacío and Historias del Kronen is the way these young writers and filmmakers reappropriate certain aspects of punk ideology.
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- Screening songs in Hispanic and Lusophone cinema , pp. 83 - 97Publisher: Manchester University PressFirst published in: 2025
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