Discourses and Representations of the Female Composer in Film: the Case of Clara Wieck
DOI:
https://doi.org/10.24310/Fotocinema.2023.vi26.15560Keywords:
Gender studies, cinema and music, biopic, female composers, Clara Wieck, SchumannAbstract
This paper analyzes the life and work of the composer, performer, teacher, editor and arranger Clara Wieck-Shumann in cinema through four biographic films. The aim is as well to quantify the presence or absence in the filmic account of the professional activities in the field of music that the historical evidence attributes to her as well as possible historical distortions in their representation. For this purpose, the compositional corpus offered by the films is compared with the one attributed by historiography and primary sources to Clara Wieck as well as the one referred to Robert Schumann and Johannes Brahms. Through a critical analysis of the film text, the representation of the female model from the perspective of gender studies and feminist musicology is addressed. It confirms the lack of visibility of Clara Wieck-Shumann's professional facets except the one as a performer and the insistence on a model of a woman devoted to her husband's happiness. Finally, this study adds new data to the catalogue of Clara Wieck's work in cinema as a new proposal.Estudios de género
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