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Si us plau utilitzeu sempre aquest identificador per citar o enllaçar aquest document: https://hdl.handle.net/2445/183845
El campo cinematográfico español entre 1974 y 1984: instituciones, agentes y teorías
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[spa] A partir de la teoría de los campos artísticos de Pierre Bourdieu, nos propusimos pensar el caso de la autonomización del campo cinematográfico español. Para ello analizamos su estado heterónomo, caracterizado por una censura política y económica, por el control de los profesionales del cine a través de un sindicato único, por la vigilancia del repertorio mediante premios, calificaciones e incentivos y por la asimilación de la disidencia discursiva desde la potenciación de los cines deseados, como en el caso del Nuevo Cine español. También observamos de qué modo la creación de un público más formado cinematográficamente propició la salida del estado heterónomo desde el fortalecimiento de las instituciones (cineclubes, festivales, filmotecas, centros culturales, programas de televisión, cine independiente) y cómo la gestación de una crítica local cuyo horizonte era la legitimación del cine se imbuyó de modelos académicos para lograr la cientificidad del acercamiento al objeto del campo, lo que contribuyó a su emancipación a la vez que garantizó la solidez de los estudios de cine. Este sector teórico-crítico apeló a una teorización local gracias a los ejemplos fílmicos que en ese mismo periodo aportaron una reflexión acerca del lenguaje con el fin de subrayar su oposición ideológica y formal a un Modo de Representación Institucional. A través del forzamiento de los límites de la representación por medio de la experimentación con el montaje, el fuera de campo, la luz y otros elementos propios de la materia cinematográfica, ratificaron que el cine es un modo de pensamiento. Todo ello contribuyó a conseguir la autonomía relativa del campo español, otorgándole su configuración actual, caracterizada por ser un sistema con al menos tres subsistemas (el gallego, el catalán y el vasco) con instituciones propias.
[eng] Starting from the theory of the artistic fields of Pierre Bourdieu, we set out to think about the case of the autonomization of the Spanish cinematographic field. To do this, we analyzed its heteronomous status, characterized by political and economic censorship, by the control of film professionals through the francoist single Union, by the surveillance of the repertoire through awards, ratings, and incentives, and by the assimilation of discursive dissidence by favouring certain cinemas, as in the case of New Spanish Cinema. We also observe how the creation of a more cinematographically educated public led to the emancipation of the heteronomous state with the strengthening of the institutions (film clubs, festivals, cinematheques, cultural centers, television programs, independent cinema) and how the gestation of a local criticism whose horizon was the legitimation of cinema was imbued with academic models to achieve the scientific approach to the object of the field, which contributed to its liberation while guaranteeing the solidity of film studies. This theoretical-critical sector appealed to a local theorization thanks to the filmic examples that in that same period contributed to a reflection on film language in order to underline its ideological and formal opposition to an Institutional Mode of Representation. Through forcing the limits of representation through experimentation with montage, off-camera, light and other elements typical of the cinematographic matter, they confirmed that cinema is a way of thinking. All of this contributed to achieving the relative autonomy of the Spanish field, giving it its current configuration, characterized by being a system with at least three subsystems (Galician, Catalan and Basque) with its own institutions.
[eng] Starting from the theory of the artistic fields of Pierre Bourdieu, we set out to think about the case of the autonomization of the Spanish cinematographic field. To do this, we analyzed its heteronomous status, characterized by political and economic censorship, by the control of film professionals through the francoist single Union, by the surveillance of the repertoire through awards, ratings, and incentives, and by the assimilation of discursive dissidence by favouring certain cinemas, as in the case of New Spanish Cinema. We also observe how the creation of a more cinematographically educated public led to the emancipation of the heteronomous state with the strengthening of the institutions (film clubs, festivals, cinematheques, cultural centers, television programs, independent cinema) and how the gestation of a local criticism whose horizon was the legitimation of cinema was imbued with academic models to achieve the scientific approach to the object of the field, which contributed to its liberation while guaranteeing the solidity of film studies. This theoretical-critical sector appealed to a local theorization thanks to the filmic examples that in that same period contributed to a reflection on film language in order to underline its ideological and formal opposition to an Institutional Mode of Representation. Through forcing the limits of representation through experimentation with montage, off-camera, light and other elements typical of the cinematographic matter, they confirmed that cinema is a way of thinking. All of this contributed to achieving the relative autonomy of the Spanish field, giving it its current configuration, characterized by being a system with at least three subsystems (Galician, Catalan and Basque) with its own institutions.
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VEGA JAIMERENA, Maria josefina. El campo cinematográfico español entre 1974 y 1984: instituciones, agentes y teorías. [consulta: 25 de febrer de 2026]. [Disponible a: https://hdl.handle.net/2445/183845]