El cine y la musica. Un análisis a las bandas sonoras del cine ecuatoriano de los años 90.

Abstract

Abstract: This research explores the relationship between cinema and music, specifically analyzing the soundtracks of Ecuadorian films from the 1990s. Its objective was to examine the contribution of these soundtracks to the development of cinematic language and their function within the narratives of films produced during that decade. The study employed a qualitative approach descriptive, exploratory, and documentary in nature to analyze the role of soundtracks, seeking to understand how music contributed to the narrative, aesthetic, and symbolic construction of five iconic films from that era. To this end, the research involved consultations with Ecuadorian composers and musicians, alongside an examination of films notable for their diverse themes, historical significance, and musical ingenuity. Drawing on the work of Aumont and Marie (1990), the study considered various types of music (diegetic, non-diegetic, ambiguous, etc.) and levels of sound mixing (dominant, primary, secondary, and background) to understand the interaction between sonic and visual elements in Ecuadorian cinema. A wide variety of musical applications was observed; most films combine non-diegetic and diegetic music incorporating urban sounds, strings, piano, and instrumental Andean music to establish symbolic atmospheres, support the narrative, and depict social realities. Furthermore, secondary and primary sound-mixing levels play a crucial role in directing the audience's attention. In summary, the music in 1990s Ecuadorian cinema is essential for forging an audiovisual and cultural identity, as it blends the new with the traditional. However, for this body of cinema to strengthen and more effectively reflect the nation, it requires greater institutional support and artistic training.