ABSTRACT
This chapter views that scrutiny of the national/transnational tensions of Latin American mass media by honing in on the changing relation of music to film since the advent of sound films. It considers the affective bonds created by forms of musical address in films not always identified as movie musicals. The ambitious and complex nature of the project of Cobrador continually proposes a different kind of relation between film, music, and audio-viewer from the political models Solanas, Diegues, and Perez have developed. This is a political consciousness at odds with the affective bonds that earlier engaged the aural community. As the shift in musical recording and film production technologies and funding has transformed our sense of what cinema is, filmmakers have embraced a radical reconceptualization of the audience and market of popular music, with profound effects on aesthetic strategies for reshaping audio-viewing.
