| Authors and Corporations: | , |
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| published: | Amsterdam University Press 2015 |
| Part of: |
NECSUS. European Journal of Media Studies 4 (1), 47–65. DOI: https://doi.org/10.5117/NECSUS2015.1.MERA.
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| Media Type: | Article, E-Article |
| published in: | NECSUS. European Journal of Media Studies 4 (1), 47–65. DOI: https://doi.org/10.5117/NECSUS2015.1.MERA. |
|---|---|
| Language: | English |
| Part of: |
NECSUS. European Journal of Media Studies 4 (1), 47–65. DOI: https://doi.org/10.5117/NECSUS2015.1.MERA.
|
| Subjects: | |
| Collection: | media/rep/ - Repositorium für die Medienwissenschaft |
The British/Spanish co-production HONEYMOON (LUNA DE MIEL, Michael Powell, 1959) is a curious case of an export for foreign audiences that won the Technical Grand Prize at the Cannes Film Festival yet was a commercial failure. Taking this now forgotten film as a case study, we will investigate the musical genre from a transnational perspective. Recently restored to its original length, Honeymoon includes compositions by Manuel de Falla and Sarasate, as well as performances by ballet dancer Ludmilla Tchérina and Spanish dance star Antonio (Ruiz Soler), both choreographed by Léonide Massine. We examine the interplay between national and transnational elements in a musical that tries to emulate the success of THE RED SHOES (Michael Powell, Emeric Pressburger, 1948) by putting it in the context of the Spanish cultural and economic policies of promoting the country. |