Modelos de un cine de economía. Hacia el establecimiento de un género necesario

• Autores: Ralf Junkerjürgen
• Localización: Estudios Culturales Hispánicos, ISSN-e 2701-8636, Nº. 1, 2020, págs. 241-278
• Idioma: español
• Enlaces
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• Resumen
  • español

    El cine español que se enfrenta a temas de la crisis lo ha hecho por regla ge­neral a través de la poética aristotélica para enfocar la precaria situación de los afectados y apelar de esta manera a la empatía de los espectadores. A este respecto, ha mostrado una gran sensibilidad por las dinámicas sociales. Aunque la crisis económica es el motor prin­cipal de éstas, la complejidad de la representación de cuestiones económicas, sin embargo, queda muy por debajo del nivel al que se retratan las relaciones personales. Parece que en esta falta de voluntad y de interés por estos temas se refleja una larga tradición del pensa­miento intelectual, que desprecia la economía y demoniza el dinero. El artículo analiza un puñado de títulos que sí abordan con más ambición el funcionamiento del sistema (econó­mico), entre ellos películas tan destacables como El reino y La mano invisible. Los títulos se caracterizan por el hecho de que abandonan o enriquecen la poética aristotélica con estrategias narrativas ancladas en el teatro épico.

    Spanish cinema that deals with issues of the crisis has generally used Aristote­lian poetics to focus on the precarious situation of those affected and thus appeal to the empathy of viewers. In this respect, it has shown great sensitivity to social dynamics. Al­though the economic crisis is the main driving force behind these, the complexity of the representation of economic issues, however, falls far short of the level at which personal relationships are portrayed. It seems that this lack of will and interest in these issues re­flects a long tradition of intellectual thought, which despises economics and demonizes money. The article looks at a handful of titles that do take a more ambitious approach to the workings of the (economic) system, including such notable films as El reino and La mano invisible. The titles are characterised by the fact that they abandon or enrich Aristo­telian poetics for narrative strategies anchored in epic theatre.

  • English

    Spanish cinema that deals with issues of the crisis has generally used Aristotelian poetics to focus on the precarious situation of those affected and thus appeal to the empathy of viewers. In this respect, it has shown great sensitivity to social dynamics. Although the economic crisis is the main driving force behind these, the complexity of the representation of economic issues, however, falls far short of the level at which personal relationships are portrayed. It seems that this lack of will and interest in these issues reflects a long tradition of intellectual thought, which despises economics and demonizes money. The article looks at a handful of titles that do take a more ambitious approach to the workings of the (economic) system, including such notable films as El reino and La mano invisible. The titles are characterised by the fact that they abandon or enrich Aristotelian poetics for narrative strategies anchored in epic theatre.