Resumen de "El clavo", de Rafael Gil, en la búsqueda de un modelo para el cine español
The first half of the 1940s in Spain was witness to an ongoing discussion as to the nature of an appropriate model for national cinema within the framework of Franco’s dictatorship, and it was films like El Escándalo ((J. L. Sáenz de Heredia, 1943) and El Clavo (R, Gil, 1944) which initially appeared to fill this role. This paper examines the overturning of values and simplification of narrative strategies in a kind of adapted, romantic and liberal cinematographic product, with a view to linking its internal contradictions and stylistic fragmentation to more general questions such as that of the position of the viewer. It is not surprising that Rebecca, an unexpected success on Spanish screens, was among the sometimes incompatible models that Rafael Gil took into account in an attempt to make a film representative of a wide abstract range of different tendencies.
