scholarly journals El Pepe: Yüce Bir Yaşam ve Buena Vista Social Club Belgesellerinde Ütopya

SineFilozofi ◽  
2021 ◽  
Author(s):  
Senem A. DURUEL ERKILIÇ ◽  
Onur AYTAÇ
Keyword(s):  
2014 ◽  
Vol 29 (2) ◽  
pp. 80-85 ◽  
Author(s):  
Luis Heredia ◽  
David Hinkamp ◽  
Marc Brodsky ◽  
Carlos Llapur

BACKGROUND: The Orquesta Buena Vista Social Club is a world-renowned group of Cuban musicians accomplished in a variety of musical styles. The musicians of the Orquesta Buena Vista Social Club and supporting musicians of their orchestras represent a cohort of musicians throughout Cuba who continue to play traditional genres and perform into their older ages. PURPOSE: The purpose of the study was to (1) identify musculoskeletal conditions that occurred over the previous 12 months among the members of the Orquesta and supporting musicians and (2) to discover if these conditions, in part, were caused by or in some way affected musical performance. METHODS: The study was a convenience sample of musicians within the Orquesta Buena Vista Social Club and supporting musical groups. Thirty-six musicians completed a self-administered survey. RESULTS: Sixty-seven percent (24/36) of the total sample of musicians and 89% (16/18) of those over age 60 years had at least one musculoskeletal condition over the previous 12 months. Forty-four percent (16/36) of the total sample of musicians and 61% (11/18) of those older than 60 years of age reported that a musculoskeletal complaint was either, in part, caused by or affected their performance. CONCLUSION: Musculoskeletal conditions were prevalent among the Cuban musicians, especially in those over 60 years of age. Collaboration of medical professionals, managers, and musicians may help to generate ideas on how to prevent injuries as well as to evaluate what treatments for playing-related conditions, including both conventional and complementary and alternative therapies, are most effective.


2003 ◽  
Vol 10 (4) ◽  
pp. 498-503 ◽  
Author(s):  
Marivic Wyndham ◽  
Peter Read
Keyword(s):  

Chasqui ◽  
2000 ◽  
Vol 29 (1) ◽  
pp. 153
Author(s):  
Daniela Melis ◽  
Wim Wenders
Keyword(s):  

Author(s):  
Stephen Gregory

I take the image of the crossroads first as a way of elucidating the approach Wim Wenders takes to making films and Ry Cooder to making music, and to the implicit politics that can be derived from their practice. I then look at Paris, Texas as a crossroads film to examine how the thematic and formal properties of the film can throw light on the nature of Cooder’s and Wenders’s collaboration on it. This is then used as a base from which to launch an attempt to demolish once and for all the widely held view that Buena Vista Social Club was an example of cultural imperialism.


2007 ◽  
Vol 25 (1) ◽  
pp. 46-69 ◽  
Author(s):  
Jennifer Ruth Hosek

The years following the fall of the Berlin Wall saw a wave of interest in a far away nation now largely independent of Soviet influence: Cuba. The three documentary fims that this article treats are a part of this "Cuba wave." Yet, as I argue here, more than simply tales of the Caribbean, Buena Vista Social Club by Wim Wenders and Havanna mi amor and Heirate mich! by Uli Gaulke and Jeannette Eggert are ciphers for competing and unpopular discourses surrounding German (re)unification. As sanctioned narratives of the Germanies increasingly ossify, these films articulate obscured and agonistic visions of national identity in the Berlin Republic.


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