Publication: Cine transnacional y geopolítica hispanoamericana: el caso de España en su relaciones con la Argentina (1931-1943)
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2016-12-07
Defense date
2016-11-21
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Abstract
Esta tesis estudia la geopolítica cinematográfica hispanoamericana que España
ejerce en relación con la Argentina en el periodo histórico que va de 1931 a 1943.
Sostiene que España utiliza su aparato cinematográfico para comunicar cierta idea del
país y de su vínculo con las repúblicas americanas. Se trata de utilizar las películas para
conectar con sus antiguas colonias, estrechar las relaciones políticas, económicas o
culturales y, en definitiva, aumentar su influencia sobre ellas. Es una geopolítica que
pasa por tres fases: la de creación de sus bases ideológicas e industriales (1931‐1936),
su bifurcación en una línea frentepopulista y otra falangista a raíz de la guerra (1936‐
1939) y la fase fascista (1939‐1943). Dentro de cada una de estas fases se describe en
qué consiste la geopolítica cinematográfica hispana, cómo se negocia, a qué se enfrenta.
También se fija la lista de películas intercambiadas y qué productoras, distribuidoras y
salas intervienen en la configuración de ese cine transnacional. Finalmente, se estudia
cuál es el contenido de la comunicación política, qué mensajes se intercambian, qué idea
de lo hispano circula, hasta qué punto la doctrina geopolítica dictada desde arriba se
hace realidad y cuál es la recepción de las películas por parte de la crítica o del público.
La tesis concluye que, en efecto, existe una geopolítica cinematográfica. Consiste en
intercambiar películas comerciales, incentivar la circulación de películas culturales y
noticiarios, prohibir las películas ofensivas y favorecer las coproducciones o la
colaboración de profesionales de un país en películas del otro país. Pero las realidades
conseguidas en esas cuatro prácticas son muy diferentes en cada fase. España plantea
sus relaciones con la Argentina desde distintas doctrinas (el panhispanismo, el
hispanoamericanismo progresista, el frentepopulista, el fascista…) que no siempre
encuentran conexión con la Argentina, con su propia complejidad de intereses o con las
aspiraciones de su aparato cinematográfico.
This doctoral thesis explores the geopolitics of Hispano‐American cinema through the prism of Spain’s relationship with Argentina between 1931 and 1943. It sets out that Spain used its cinematic apparatus to transmit a certain idea about itself, and about its relationship with the American republics. This was based on the idea of connecting with its former colonies, tightening political, economic or cultural ties, and essentially increasing its influence over them. This type of geopolitics comprises three distinct phases: the establishment of its ideological and industrial basis (1931‐1936), its bifurcation into a popular and Falangist front because of the war (1936‐1939) and the fascist phase (1939‐1943). This work describes what the Hispanic cinema geopolitics consisted of, how it was negotiated and what challenges it faced in each of these three phases. It also covers the list films that where exchanged, and which production studios, movie distributors and cinemas were involved. Finally, it explores the content of the political communication including the messages exchanged, what ideas of what is Hispanic were conveyed, to what extent the geopolitical doctrine dictated from on‐high became a reality, and what the critical and/or public reaction to these films was. The thesis concludes that there was indeed a cinematographic geopolitics. It consisted of the exchange of commercial films, the promotion of cultural films and news bulletins, the prohibition of offensive films and the favoring of co‐productions or the collaboration of professionals from one country in the films of another. But the objectives attained through those four practices were very different in each stage. Spain propounded its relationship to Argentina through different doctrines (pan‐Hispanism, a progressive Hispano‐Americanism, the popular front, and the fascist doctrine) that did not always manage to connect with Argentina, with its own set of complex interests and the aspirations of its cinematic apparatus.
This doctoral thesis explores the geopolitics of Hispano‐American cinema through the prism of Spain’s relationship with Argentina between 1931 and 1943. It sets out that Spain used its cinematic apparatus to transmit a certain idea about itself, and about its relationship with the American republics. This was based on the idea of connecting with its former colonies, tightening political, economic or cultural ties, and essentially increasing its influence over them. This type of geopolitics comprises three distinct phases: the establishment of its ideological and industrial basis (1931‐1936), its bifurcation into a popular and Falangist front because of the war (1936‐1939) and the fascist phase (1939‐1943). This work describes what the Hispanic cinema geopolitics consisted of, how it was negotiated and what challenges it faced in each of these three phases. It also covers the list films that where exchanged, and which production studios, movie distributors and cinemas were involved. Finally, it explores the content of the political communication including the messages exchanged, what ideas of what is Hispanic were conveyed, to what extent the geopolitical doctrine dictated from on‐high became a reality, and what the critical and/or public reaction to these films was. The thesis concludes that there was indeed a cinematographic geopolitics. It consisted of the exchange of commercial films, the promotion of cultural films and news bulletins, the prohibition of offensive films and the favoring of co‐productions or the collaboration of professionals from one country in the films of another. But the objectives attained through those four practices were very different in each stage. Spain propounded its relationship to Argentina through different doctrines (pan‐Hispanism, a progressive Hispano‐Americanism, the popular front, and the fascist doctrine) that did not always manage to connect with Argentina, with its own set of complex interests and the aspirations of its cinematic apparatus.
Description
Mención Internacional en el título de doctor
Keywords
Cine español, Relaciones internacionales, España, Argentina, Franquismo