Publication: Creadores queer en el cine español del franquismo: subcultura homosexual y género
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2020-10-07
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2020-07-08
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Abstract
Esta tesis doctoral estudia desde perspectivas queer las prácticas creativas de creadores queer en el cine español del franquismo, analizando cómo estos creadores, mayoritariamente homosexuales, utilizaron códigos, tradiciones y referentes de la subcultura homosexual de su contexto histórico relacionados con lo que tradicionalmente se ha conceptualizado como feminidad. Esta tesis estudia y pone en relación las obras de ocho creadores queer principalmente: Juan de Orduña (director, productor, guionista), Rafael de León (letrista y puntual guionista), Luis Sanz (productor y guionista), Antonio Mas-Guindal (guionista y puntual director), Vicenç Lluch (director, guionista), Luis Escobar (director, guionista), Luis Saslavsky (director, guionista) y Antonio Gala (guionista). La tesis se compone de cuatro bloques, cada uno dedicado a un área de expresión subcultural. El Bloque I se centra en las convenciones genéricas del melodrama de mujeres y en las figuras de la mujer sufridora y la mujer subversiva como personajes en tensión respecto a la normatividad de género y sexual patriarcal convencional. El Bloque II se ocupa de las películas musicales protagonizadas por divas performadoras, mujeres tanto subversivas como sufridoras, y estudia relaciones subculturales particularmente fructíferas con las formas culturales de la copla, la ópera y el cuplé. El Bloque III analiza cómo, desde inicios de los años sesenta, se aprecian con particular explicitud en algunas películas manifestaciones de lo camp en sus vertientes más irónicas, cómicas, frívolas y autoconscientes, así como en reciclajes entre sentimentales y lúdicos de la cultura popular del pasado. El Bloque IV aborda cómo, en el marco de las convenciones genéricas de la comedia, los creadores aquí estudiados flirtearon con la representación explícita de lo queer, mediante el uso del travestismo como herramienta problematizadora de las convenciones de género y sexuales tradicionales y el juego con el estereotipo cómico del mariquita para representar la homosexualidad.
This thesis studies from queer perspectives the creative practices of queer creators in the Spanish cinema made during the Franco regime, analysing how these creators, mostly homosexuals, used codes, traditions and referents of the homosexual subculture of their historical context related to what has traditionally been conceptualised as femininity. This thesis studies and relates the works of eight queer creators mainly: Juan de Orduña (director, producer, screenwriter), Rafael de León (lyricist and occasional screenwriter), Luis Sanz (producer and screenwriter), Antonio Mas-Guindal (screenwriter and occasional director), Vicenç Lluch (director, screenwriter), Luis Escobar (director, screenwriter), Luis Saslavsky (director, screenwriter) and Antonio Gala (screenwriter). The thesis is composed of four parts, each dedicated to a subcultural area of expression. Part I focuses on the generic conventions of women's melodrama and on the figures of the suffering woman and the subversive woman as characters in tension with conventional patriarchal gender and sexual norms. Part II deals with musical films about performing divas, both subversive and suffering women, and studies particularly fruitful subcultural relationships with the cultural forms of copla, opera and cuplé. Part III analyses how, since the beginning of the sixties, camp manifestations are particularly explicit in some films, where can be found diverse ironic, comic, frivolous and self-conscious aspects, as well as sentimental and parodic recycling practices of the popular culture of the past. Part IV deals with how, within the framework of the generic conventions of comedy, the creators studied here flirted with the explicit representation of queerness, using transvestism as a troubling tool with respect to traditional gender and sexual conventions and playing with the comic stereotype of the sissy (mariquita) to represent homosexuality.
This thesis studies from queer perspectives the creative practices of queer creators in the Spanish cinema made during the Franco regime, analysing how these creators, mostly homosexuals, used codes, traditions and referents of the homosexual subculture of their historical context related to what has traditionally been conceptualised as femininity. This thesis studies and relates the works of eight queer creators mainly: Juan de Orduña (director, producer, screenwriter), Rafael de León (lyricist and occasional screenwriter), Luis Sanz (producer and screenwriter), Antonio Mas-Guindal (screenwriter and occasional director), Vicenç Lluch (director, screenwriter), Luis Escobar (director, screenwriter), Luis Saslavsky (director, screenwriter) and Antonio Gala (screenwriter). The thesis is composed of four parts, each dedicated to a subcultural area of expression. Part I focuses on the generic conventions of women's melodrama and on the figures of the suffering woman and the subversive woman as characters in tension with conventional patriarchal gender and sexual norms. Part II deals with musical films about performing divas, both subversive and suffering women, and studies particularly fruitful subcultural relationships with the cultural forms of copla, opera and cuplé. Part III analyses how, since the beginning of the sixties, camp manifestations are particularly explicit in some films, where can be found diverse ironic, comic, frivolous and self-conscious aspects, as well as sentimental and parodic recycling practices of the popular culture of the past. Part IV deals with how, within the framework of the generic conventions of comedy, the creators studied here flirted with the explicit representation of queerness, using transvestism as a troubling tool with respect to traditional gender and sexual conventions and playing with the comic stereotype of the sissy (mariquita) to represent homosexuality.
Description
Mención Internacional en el título de doctor
Keywords
Estudios queer, homosexualidad, cine español, franquismo, creación cinematográfica, género, feminidad, melodrama, cine musical, camp, travestismo, estereotipo, censura, Queer Studies, Homosexuality, Spanish Cinema, Francoist dictatorship, Filmmaking, Gender, Femininity, Melodrama, Musical Films, Transvestism, Stereotype, Censorship