Thus it is possible to identify elements from the Día de los muertos celebrations in Mixquic (Mexico City) and in Pátzcuaro (Michoacán).įor the English version, an actor of Latin descent, Benjamin Bratt, was chosen to voice Ernesto de la Cruz, the film’s main antagonist, while the Spanish version featured the Mexican singer and songwriter Marco Antonio Solís, a.k.a. For this film, instead of using Pixar´s technique of world-building, like in Monsters Inc., director Lee Unkrich relied on several research trips to Mexico and personal stories from Mexican team members. Coco shines it takes on the colors of the Día de los muertos. Entire families gather in the warmth of the home to pay homage to their deceased and to remember past times placing la ofrenda (an offering) that usually is made of cempasúchil flowers ( Tagetes erecta), food (such pan de muerto, candies, mole, tamales, and so forth), candles, pictures, incense known as copal, and several other objects. The idea of the offering is that of a welcoming for those souls that visit the world of the living once a year. Día de los muertos is a day in which both the streets and homes are filled with light and color, music and flowers, and, above all, offerings, which indicate that the people that we love have not been forgotten. For this, it draws from the folklore and culture of the Mexican celebration of Día de los muertos, a tradition that happens every 1st and 2nd of November. Pixar has embarked on the difficult business of explaining to children the complicated subject of death. I am interested in explaining how the processes of memory and forgetting are relevant in Coco beyond life and death as central topics of the film.Ĭoco is a film about death, life, and family legacy,all articulated through music. In this essay, I am interested in reviewing the codification of sound culturally speaking, rather than the specifics of the music itself. Intriguingly, the version released in Mexico was not the dubbed version of an English language original for the first time, Pixar produced a film in Spanish featuring the vocal stylings of popular Latin American performers. I became interested in seeing Coco when I learned that two versions had been made in terms of editing and post-production: one for Mexican and Latin American audiences and one for the U.S. I did not want to see a movie that would make me cry. My reticence to see Coco was caused by the multiple comments and the innumerable tears and wails the film provoked from several of my friends. Since my son was born we have watched every children’s film that has come out and some of them, I must confess, I have enjoyed. The album “Gracias por Estar Aquí” appeared in April 2014, laden with Latin Grammy nominations for Best Traditional Pop Vocal Album and Best Regional Song for “De Mil Amores”.I resisted as long as I could before going to see Coco (Pixar, 2017). All albums of which topped the Billboard Latin Albums charts, and after a modest break from recording and touring, Solís was back to release his tenth consecutive Latin Album Chart No. 2” in 2006, the live album “Noche en Madrid” in 2008, and his eighth studio album “No Molestar” also in 2008. Solís subsequently released the second part to “La Historia Continúa…” in 2005, the Grammy-nominated “Trozos de Mi Alma, Vol. As the new millennium stretched out, the singer released a series of well-received albums including 2003’s “Tu Amor o Tu Desprecio”, the best-of “La Historia Continúa…”, the split release with Joan Sebastían “Dos Grandes”, and 2004’s “Razon de Sobra”. In 2001 the reflective and sentimental “Mas de Mi Alma” was issued by Solís and once again became a best-seller supported by the singles “Cuando Te Acuerdes de Mi” and “Si No Te Hubieras Ido”. After contributing lyrics and production to popular singers including Marisela and Rocíoa Dúrcal, and following 20 years of Los Bukis, in 1975 Solís decided to pursue a solo career.īy 1999 Solís had released four platinum-selling albums “Quiereme”, “Inalcanzable”, “Por Amor a Mi Pueblo”, and “Trozos de Mi Alma”, and had solidified his reputation as a revered Latin American artist. In the subsequent 20 years, Los Bukis would prove to be one of the most influential Mexican bands on tejano and norteño music, releasing 16 studio albums and countless hit singles. By the early ’70s Los Hermanitos Solís disbanded and the young singer-songwriter formed Los Bukis and began playing traditional Mexican music in the styles of tejano and norteño. Wasting little time in his pursuit for music, Solís formed his first group, Los Hermanitos Solís, alongside brother Joel aged 12.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |