Resumen de EE. UU. y España. El cine de Berlanga y las producciones internacionales de los años 50 y 60
- español
La llegada de las así llamadas runaway productions a España a partir de los años cincuenta fue paralela al acercamiento político entre EE. UU. y el régimen franquista y dio lugar a una coexistencia históricamente única de las industrias cinematográficas española y norteamericana. Desde el principio, Francisco Franco intentó utilizar estas producciones para la autorrepresentación del país, principalmente con títulos que trataban de la historia española (por ejemplo, The Pride and the Passion) o de la nueva relación entre España y Estados Unidos (por ejemplo, Spanish Affair o It started with a Kiss). Si estas películas muestran así una multicodificación ideológica, se prestan a una lecture croisée con las obras de Berlanga de esos años, en las que los EE. UU. son también un tema central. A través de los aspectos estructurales (argumento y espacio) y los focos temáticos (movilidad, progreso técnico, imágenes de hombres y mujeres), tal comparación permite iluminar el complejo discursivo EE. UU. – España desde perspectivas divergentes y determinar con mayor precisión la posición de Berlanga dentro del mismo.
As the so-called runaway productions began to shoot films in Spain from the 1950s onwards, this ran parallel to the political rapprochement between the USA and the Franco regime and led to a historically unique coexistence of the Spanish and US film industries. From the very beginning, Francisco Franco tried to use such films for the country’s self-representation, primarily with titles that dealt with Spanish history (e.g. The Pride and the Passion) or with the new relationship between Spain and the USA (e.g. Spanish Affair or It started with a Kiss). If these films thus exhibit an ideological multicoding, they lend themselves to a lecture croisée with Berlanga’s works of those years in which the USA is also a central theme. Putting structural aspects (plot and spatial structures) and thematic focal points (mobility, technical progress, images of men and women) in the forefront such a comparison makes it possible to illuminate the discourse complex USA – Spain from divergent perspectives and to determine Berlanga’s position within it even more precisely.
- English
As the so-called runaway productions began to shoot films in Spain from the 1950s onwards, this ran parallel to the political rapprochement between the USA and the Franco regime and led to a historically unique coexistence of the Spanish and US film industries. From the very beginning, Francisco Franco tried to use such films for the country’s self-representation, primarily with titles that dealt with Spanish history (e.g. The Pride and the Passion) or with the new relationship between Spain and the USA (e.g. Spanish Affair or It started with a Kiss). If these films thus exhibit an ideological multicoding, they lend themselves to a lecture croisée with Berlanga’s works of those years in which the USA is also a central theme. Putting structural aspects (plot and spatial structures) and thematic focal points (mobility, technical progress, images of men and women) in the forefront such a comparison makes it possible to illuminate the discourse complex USA – Spain from divergent perspectives and to determine Berlanga’s position within it even more precisely.
