Publication: Prácticas fílmicas de transgresión en el estado español (tardofranquismo y transición democrática)
Loading...
Identifiers
Publication date
2015-12
Defense date
2016-01-28
Authors
Advisors
Tutors
Journal Title
Journal ISSN
Volume Title
Publisher
Impact
Export
Abstract
Esta tesis doctoral estudia el surgimiento, desarrollo, difusión y declive de las
prácticas fílmicas de transgresión (PFT). Bajo este concepto se hace referencia a un
conjunto heterodoxo de representaciones y actividades cinematográficas que
tuvieron lugar durante el tardofranquismo y la transición democrática, cuyo estatuto
problemático provocó que se produjesen al margen de los cauces legales.
Dentro de esta investigación se presta una especial atención a aquellas
experiencias previas llevadas a cabo durante el franquismo que sirvan para un
mejor entendimiento de su origen, a los vínculos entre las PFT y las organizaciones
de la oposición, a los sentidos que adquirieron los diferentes términos que sirvieron
para calificarlas y al rol de las luchas de género en los discursos que hicieron de
estas denominaciones el centro de su análisis. Estos ámbitos de interés principal de
la investigación se completan con la indagación de sus relaciones internacionales,
algo que ha llevado a adoptar una perspectiva transnacional durante el trabajo
investigador, con las transgresiones que se operaron en las PFT como
desbordamientos de los marcos tolerados para lo audiovisualmente representable y
con los procesos finales que condujeron a su ocaso. Para ello, tras un desarrollo
general en el que se hacen explícitas sus principales dinámicas, se han
seleccionado tres casos de estudio en los que se recupera historiográficamente las
PFT del grupo de Madrid y el Colectivo de Cine de Madrid, se profundiza en la
trayectoria de Helena Lumbreras y el Colectivo de Cine de Clase desde una
perspectiva de género y se analizan las prácticas fílmicas de Antoni Padrós desde el
concepto de transgresión.
El objetivo final es contribuir a un conocimiento más plural de estos períodos
articulando, desde la investigación de productos culturales y actividades sociales,
unas narrativas históricas alternativas en las que la mirada hacia el exceso de los
límites lleva también al planteamiento de los valores oficializados en una sociedad.
This doctoral thesis studies the emergence, development, dissemination, and decline of the transgressive filmic practices (TFP). This concept refers to a heterodox set of representations and cinematographic activities which took place during late Francoism and the democratic transition, whose problematic status meant that they were produced at the margin of legal channels. Within this research, special attention has been paid to those earlier projects carried out during Francoism which serve to give a better understanding of the origins of the TFP, to their links with the organisations of the opposition, to the meanings acquired by the various terms that served to describe them, and to the role of gender struggles in the discourses which made these terms the centre of their analysis. These main areas of interest of the research are completed with the investigation of the TFPs’ international relations (something which led to the adoption of a transnational perspective during the research work), with the transgressions that took place in the TFP as overflowing the tolerated frameworks of what could be represented audio-visually, and with the final process that led to their decline. To this end, after a general development in which their main dynamics are made explicit, three case studies have been selected in which the TFP of the Grupo de Madrid [Madrid Group] and the Colectivo de Cine de Madrid [Madrid Cinema Collective] are recuperated historically, the career of Helena Lumbreras and the Colectivo de Cine de Clase [Class Film Collective] are examined in detail from the point of view of gender, and the filmic practices of Antoni Padrós are explored from the concept of transgression. The ultimate goal is to contribute to a more plural understanding of these periods, articulating—from the research of cultural products and social activities—various alternative historical narratives in which the act of looking towards the exceeding of limits also leads to the exposition of a society’s official values.
This doctoral thesis studies the emergence, development, dissemination, and decline of the transgressive filmic practices (TFP). This concept refers to a heterodox set of representations and cinematographic activities which took place during late Francoism and the democratic transition, whose problematic status meant that they were produced at the margin of legal channels. Within this research, special attention has been paid to those earlier projects carried out during Francoism which serve to give a better understanding of the origins of the TFP, to their links with the organisations of the opposition, to the meanings acquired by the various terms that served to describe them, and to the role of gender struggles in the discourses which made these terms the centre of their analysis. These main areas of interest of the research are completed with the investigation of the TFPs’ international relations (something which led to the adoption of a transnational perspective during the research work), with the transgressions that took place in the TFP as overflowing the tolerated frameworks of what could be represented audio-visually, and with the final process that led to their decline. To this end, after a general development in which their main dynamics are made explicit, three case studies have been selected in which the TFP of the Grupo de Madrid [Madrid Group] and the Colectivo de Cine de Madrid [Madrid Cinema Collective] are recuperated historically, the career of Helena Lumbreras and the Colectivo de Cine de Clase [Class Film Collective] are examined in detail from the point of view of gender, and the filmic practices of Antoni Padrós are explored from the concept of transgression. The ultimate goal is to contribute to a more plural understanding of these periods, articulating—from the research of cultural products and social activities—various alternative historical narratives in which the act of looking towards the exceeding of limits also leads to the exposition of a society’s official values.
Description
Mención Internacional en el título de doctor
Keywords
Cine español, Transición, Prácticas fílmicas de transgresión, Antifranquismo, Medios clandestinos