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Daniel Calparsoro$
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Ann Davies

Print publication date: 2009

Print ISBN-13: 9780719073649

Published to Manchester Scholarship Online: July 2012

DOI: 10.7228/manchester/9780719073649.001.0001

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Salto al vacío: opening up the void

Salto al vacío: opening up the void

Chapter:
(p.59) 3 Salto al vacío: opening up the void
Source:
Daniel Calparsoro
Author(s):

Ann Davies

Publisher:
Manchester University Press
DOI:10.7228/manchester/9780719073649.003.0019

This chapter discusses Calparsoro's first feature film Salto al vacío. Of all the films in Calparsoro's oeuvre, none has had more impact or been more discussed than his first feature-length film Salto al vacío. Salto al vacío placed Calparsoro in the frame of cine social and the subgenre of stories about urban youth. Central to Calparsoro's concept of the urban youth film is his use of violence. With his later films Calparsoro makes use of music directly composed for the films; with Salto, however, he makes use of pre-recorded music by the Smashing Pumpkins, Stiltskin and El Inquilino Comunista. An analysis of the music therefore suggests that Calparsoro uses it to do more than simply perpetuate notions of aggressive youth culture. Salto is in fact a remarkably quiet film given its content. The loudest use of music comes with the end credits; this, being the last sounds of the film, may have affected critical impressions of it as a loud and brash work.

Keywords:   Salto al vacío, Calparsoro, urban youth, youth culture, Smashing Pumpkins

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