This article looks at the audiovisual practices associated with the genre of the cinematic tango during the crucial first decade of sound motion pictures. I argue that two iconic figures closely associated with the tango's popularity, Carlos Gardel and Libertad Lamarque, also contributed
to promoting through this musical film genre a form of cultural identification by local and transnational Spanish-speaking audiences. Gardel's tango films, shot in Paris and New York for Paramount Pictures, and their rival expressions produced in Argentina during the 1930s, mobilized similar
intertextual strategies that exploited the spectacularization of sound and thereby contributed to the formation of a virtual Hispanic transnational community based on a shared auditory culture.
Our target readership includes students, teachers and scholars. The journal is written in English to maximize the opportunities for contact between academic disciplines such as Media, Film Studies, Latin American and Post-colonial Studies, as well as Hispanic Studies, thereby encouraging an inter- cultural and inter- disciplinary focus.