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Documental 3. Política Y Propaganda

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Documental 3. Política Y Propaganda EL CINE DOCUMENTAL 3. El documental político de los años 30 y 40. FILMOGRAFÍA. HISTORIA CONTEMPORÁNEA Y CINE. La imagen fílmica como herramienta histórica y recurso didáctico. Juan José Díaz Aznarte Departamento de Historia Contemporánea. Facultad de Filosofía y Letras. Universidad de Granada. ÍNDICE 3.- El documental político en los años 30 y 40. La Depresión, los fascismos y la Segunda Guerra Mundial. 3.1.- El documental norteamericano de la Depresión y el New Deal: «Frontier Films». 3.2.- El documental militante europeo: Joris Ivens. 3.3.- El documental en la Alemania nazi: Leni Riefenstahl. 3.4.- El documental bélico durante la S.G.M. 3.4.1.- El cine británico. 3.4.2.- El cine norteamericano. 3.4.3.- El cine soviético. 3.5.- El cine institucional y educativo de la Guerra Fría. El cine documental 3. El documental político y de propaganda 1 3.- El documental político en los años 30 y 40. La Depresión, los fascismos y la Segunda Guerra Mundial. 3.1.- El documental norteamericano de la Depresión y el New Deal: «Frontier Films». - Redes (The Wave). (México, 1937) [B/N, 80 m.]. Ficha técnica. Dirección: Fred Zinnemann, Emilio Gómez Muriel. Argumento: Agustín Velázquez Chávez, Paul Strand. Guión: Emilio Gómez Muriel, Henwar Rodakiewicz, Fred Zinnemann. Fotografía: Paul Strand. Montaje: Emilio Gómez Muriel, Gunther Von Fritsch. Música: Silvestre Revueltas. Productora: Azteca Films, Secretaría de Educación Pública. Reparto: Silvio Hernández, David Valle González, Rafael Hinojosa, Antonio Lara, Miguel Figueroa. Comentario. Rodado en la frontera entre la ficción y el documental y muy influido por el estilo de Flaherty, este film encargado por el Gobierno mexicano, basado en una idea original de Paul Strand y filmado entre 1934 y 1936, cuenta la historia de un grupo de pescadoras de Alvarado, en Veracruz (México) que se subleva contra quienes les compran el pescado a muy bajos precios. - The Plow That Broke the Plains (El arado que labró las llanuras).(Usa, 1936) [B/N, 25 m.]. Ficha técnica. Dirección: Pare Lorentz. Fotografía: Leo Hurwitz, Ralph Steiner, Paul Strand, Paul Ivano. Montaje: Leo Zochling. Música: Virgil Thomson. Productora: U.S. Resettlement Administration (Department of Agriculture). Narrador: Thomas Chalmers. Formato: DivX (VO) / Mpeg1 (VO). Documental que analiza las causas de las tormentas de arena (Dust Bowl) que arrasaron la zona central de Estados Unidos durante los años 30. El film contiene unas impresionantes secuencias sobre los efectos de las tormentas de arena en Montana, Wyoming, Colorado, Kansas y Texas, defiende un uso equilibrado y racional de la tierra y elogia los planes de la administración Roosevelt para mejorar la situación de los granjeros. El entusiasmo de Lorentz (que nunca había dirigido una película) por el New Deal no era compartido por su equipo, expertos fotógrafos izquierdistas (militantes o simpatizantes del Partido Comunista); durante el rodaje se produjeron numerosas desavenencias en torno al guión, ya que Lorentz no había escrito el texto de la narración y finalmente decidió despedirlos y completar la película con material de archivo. Las productoras de Hollywood, que rechazaban la realización de films con fondos Juan J. Díaz Aznarte. Universidad de Granada. [INDICE] Historia Contemporánea y Cine. Documentos de trabajo 2 públicos, por considerarlos una competencia desleal, y en sintonía con los grandes intereses empresariales que se oponían al New Deal, presionaron a los estudios y cinematecas para que denegaran la adquisición de estos materiales, por lo que se vio obligado a recurrir a los fondos proporcionados por unos amigos para acabar la película. - Kathleen M. Hogan, Pare Lorentz, Poet and Filmaker (University of Virginia, 1998). - Descarga directa: Internet Archive. - El río (The River). (Usa, 1938) [B/N, 32 m.]. Ficha técnica. Dirección y Guión: Pare Lorentz. Fotografía: Floyd Crosby, Willard Van Dyke, Stacy Woodard. Montaje: Lloyd Nosler, Leo Zochling. Música: Virgil Thomson. Productora: Farm Security Administration. Narrador: Thomas Chalmers. Formato: DivX (VO) / Mpeg1 (VO). El film señala la importancia del río Mississippi en la historia de los Estados Unidos y critica la degradación ambiental generada por unos sistemas de cultivo abusivos y la explotación intensiva de los recursos forestales, que provocaron un fuerte proceso de erosión del suelo, arrastrado por las crecidas hasta el Golfo de México y la ruina de los pequeños granjeros. La parte final destaca la contribución de la “Farm Segurity Administration” y la TVA (Tennessee Valley Authority) en la lucha contra la erosión provocada por las inundaciones del río Mississippi, mediante la difusión de modernas técnicas de cultivo y la construcción de presas para controlar el cauce. - Kathleen M. Hogan, Pare Lorentz, Poet and Filmmaker (University of Virginia, 1998). - Descarga directa (Internet Archive): I parte / II parte. - Power and the Land. (Usa, 1940) [B/N, 38 m.]. Ficha técnica. Dirección: Joris Ivens (Pare Lorentz, H.B. Mc Clure; no acreditados). Guión: Joris Ivens, Edwin Locke. Fotografía: Floyd Crosby, Arthur J. Ornitz. Montaje: Helen van Dongen. Música: Douglas Moore. Productora: United States Film Service. Documental sobre los avances en la electrificación de las áreas rurales en los Estados Unidos. Juan J. Díaz Aznarte. Universidad de Granada. [INDICE] El cine documental 3. El documental político y de propaganda 3 - Native Land (Tierra natal).(Usa, 1942) [B/N, 89/106 m.]. Ficha técnica. Dirección: Paul Strand, Leo Hurwitz, Elia Kazan. Guión: Paul Strand, Leo Hurwitz, Ben Maddow (David Wolff). Fotografía: Paul Strand. Montaje: Lionel Berman, Leo Hurwitz, Bob Stebbins. Música: Marc Blitzstein. Productora: Frontier Film. Formato: DivX (VO, extracto). En 1934 el cineasta Paul Strand, tras rodar Redes, se une al grupo “New York Kino” y crea la cooperativa “Frontier Films” junto a Leo Hurwitz, Herbert Kline, Pare Lorentz, Henri Cartier-Bresson, Elia Kazan, Ralph Steiner, Irving Lerner y Willand Van Dyke. En 1937 Strand, Kazan y Hurwitz comienzan a desarrollar su proyecto más ambicioso, Native Land, concebida como un ensayo histórico-político sobre los Estados Unidos, presentados como una mezcla de democracia y autoritarismo. Realizado a partir de fragmentos de noticiarios, documentos de archivo y acontecimientos reales reconstruidos con actores profesionales, integrados en una trama vertebrada por la Declaración de Derechos, topó con numerosos dificultades y sólo pudo finalizarse gracias a una aportación económica de la Administración Roosevelt. El resultado fue un documental espléndido y comprometido, que denunciaba el gangsterismo sindical y el odio racial -incluyendo imágenes de linchamientos en el Sur-, lo que provocó el violento rechazo de los sectores conservadores y ultraderechistas. Otros documentales. The people of the Cumberland (Elia Kazan, 1937. Frontier Films); The City (Willard Van Dyke y Ralph Steiner, 1939. Frontier Films / American Documentary Films, Inc.); Valley Town (Willard Van Dyke, 1940. Educational Film Institute of New York University and Documentary Film Producers, Inc.); The forgotten village (Herbert Kline y Alexander Hammid , 1941. Pan-American Films Inc. / Frontier Films). Noticiarios: Workers Film and Photo League (1920s-1936, Communist Party USA). Juan J. Díaz Aznarte. Universidad de Granada. [INDICE] Historia Contemporánea y Cine. Documentos de trabajo 4 3.2.- El documental militante europeo: Joris Ivens. - Borinage (Misère au Borinage). (Bélgica, 1933) [B/N, 36 m.) Ficha técnica. Dirección: Joris Ivens, Henri Storck. Guión: Joris Ivens, Henri Storck. Fotografía: Joris Ivens, Henri Storck, François Rents. Montaje: Joris Ivens, Henri Storck Producción: Club de l'Écran, EPI. Formato: DivX (VOSE). Sinopsis. Descripción de las condiciones de vida en una localidad minera durante el transcurso de una larga huelga. Rodado de forma semi-clandestina a causa de la censura, es un film abiertamente político que hace un llamamiento explícito a los trabajadores del mundo para que no cedan a la explotación de los empresarios. Comentario. En 1933 Henri Storck -una de las figuras clave del cine de vanguardia belga- pidió a Joris Ivens que le ayudara a hacer un documental sobre las consecuencias de la huelga de los mineros en Borinage que tuvo lugar un año antes. Cuando llegaron a la región minera, Storck y Ivens olvidaron por completo la estética. Como dice Henri Storck: “Dejamos de pensar en el cine y en como tomar un plano, nos dominó una necesidad irrevocable de producir imágenes tan simples, desnudas y sinceras como fuera posible para adecuarse a los hechos horribles que nos brindó la realidad”. En un estilo sobrio, el documental confronta al espectador con la miseria de los mineros; desempleados o explotados por las empresas mineras, sus familias eran expulsadas de sus casas si no podían pagar el alquiler. Ivens utilizó el método de la reconstrucción para incorporar en el film la huelga de los mineros de 1932. (Fundación Joris Ivens) Información adicional. Discípulo de Flaherty y pionero del documental de montaje belga, Henri Stock realizaría posteriormente Les maisons de la misère (1937), donde retrata y denuncia la existencia del cinturón de chabolas de los suburbios de Bruselas, y Symphonie paysanne (1942-44), documento etnográfico sobre la mísera condición de los campesinos de la región de Brabante. Conviene reseñar también el film de Paul Meyer Dejá s’envole la fleur maigre (Daar vliegt reeds de magere bloem / Les enfants de Borinage, 1959), que expone un día en la vida de una familia
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