Programming Brazilian music for a global film audience: An interview with Cristian Pascual

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dc.contributor.authorPascual, Cristian
dc.contributor.editorCourage, Tamaraen
dc.contributor.editorElduque, Alberten
dc.date.accessioned2020-07-24T08:34:47Z
dc.date.available2020-07-24T08:34:47Z
dc.date.issued2020
dc.description.abstractMusic is one of the most cherished topics in Brazilian documentary filmmaking. Vinicius (Miguel Faria Jr., 2005), Raul: O início, o fim e o meio (Raul: The Beginning, the End and the Middle, Walter Carvalho, 2012) and Chico: Artista brasileiro (Chico: Brazilian Artist, Miguel Faria Jr., 2015) feature among the most successful Brazilian documentaries from the last twenty years, which makes clear their appeal to national audiences. However, to better articulate their significance it is also crucial to understand them from an international context. The In-Edit – International Music Documentary Film Festival, an event solely devoted to the screening and discussion of music documentaries, allows us to do so. First organised in Barcelona in 2003 and swiftly exported and adapted in multiple countries, the current In-Edit occurs annually in Chile, Brazil, Greece and the Netherlands. Throughout the years, it has also been celebrated in Argentina, Mexico, Germany, Colombia and Peru. In-Edit Brasil was first organised in São Paulo in 2009 and showcases a wide variety of music documentaries both from Brazil and abroad. At the same time, some Brazilian music documentaries are screened in other In-Edits, such as Chile and Spain. In effect, In-Edit organisers hold a privileged perspective on the role that Brazilian music and Brazilian music documentaries play within the international scene. Cristian Pascual (Barcelona, 1980) was the director of In-Edit Barcelona from 2007 to 2019, and he is still part of the organising committee. We met him in São Paulo in 2017, and he provided us with a programmer’s view of music documentaries from all over the world. Despite how political events have altered the country’s international influence in global politics (most notably Jair Bolsonaro taking over as president at the beginning of 2019), we believe that Pascual’s views present a rich reflection on Brazilian specificities regarding the production and reception of music documentaries today.en
dc.description.statusNot peer revieweden
dc.description.versionPublished Versionen
dc.format.mimetypeapplication/pdfen
dc.identifier.citationPascual, C. (2020) 'Programming Brazilian music for a global film audience: An interview with Cristian Pascual', Alphaville: Journal of Film and Screen Media, 19, pp. 139-145. https://doi.org/10.33178/alpha.19.11en
dc.identifier.doihttps://doi.org/10.33178/alpha.19.11
dc.identifier.endpage145
dc.identifier.issn2009-4078
dc.identifier.issued19
dc.identifier.journalabbrevAlphavilleen
dc.identifier.journaltitleAlphaville: Journal of Film and Screen Mediaen
dc.identifier.startpage139
dc.identifier.urihttps://hdl.handle.net/10468/10292
dc.language.isoenen
dc.publisherFilm and Screen Media, University College Corken
dc.relation.urihttp://www.alphavillejournal.com/Issue19/InterviewPascual.pdf
dc.rights© 2020, the Author(s). This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.en
dc.rights.urihttps://creativecommons.org/licenses/by-nc-nd/4.0/
dc.subjectBrazilian musicen
dc.subjectPopular songen
dc.subjectSambaen
dc.subjectBossa novaen
dc.subjectTropicáliaen
dc.titleProgramming Brazilian music for a global film audience: An interview with Cristian Pascualen
dc.typeArticle (peer-reviewed)en
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Alphaville: Journal of Film and Screen Media. Issue 19: Performing the Intermedial across Brazilian Cinema