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Jess Franco: De Los Márgenes Al Cine De Autor Análisis Del Relato Cinematográfico

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Jess Franco: De Los Márgenes Al Cine De Autor Análisis Del Relato Cinematográfico UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN TESIS DOCTORAL Jess Franco: de los márgenes al cine de autor Análisis del relato cinematográfico MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Alejandro Mendíbil Blanco DIRECTORES Francisco García García María Luisa García Guardia Madrid, 2019 © Alejandro Mendíbil Blanco, 2018 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN JESS FRANCO: DE LOS MÁRGENES AL CINE DE AUTOR Análisis del relato cinematográfico Tesis doctoral que presenta Alejandro Mendíbil Blanco para la obtención del Grado de Doctor Bajo la dirección de los doctores Francisco García García María Luisa García Guardia Madrid 2018 A Teilor, por hacer que todo sea mejor. 3 Jess Franco: de los márgenes al cine de autor 4 AGRADECIMIENTOS A Jesús Franco por su extraordinaria obra y su mejor carácter, ¡queda mucho por aprender de ambas facetas! A Francisco García García por ser más que un director de tesis, un ejemplo de constancia, trabajo y amistad. A la directora María Luisa García Guardia por el empuje que me transmitió desde el principio. A Emeterio Díez Puertas, Víctor Berlín, Piluca Baquero y a Vanessa García por orientarme con sus consejos en el camino doctoral. A mis maestros y gurús franquianos: Jordi Costa, Francesco Cesari, José Luis García Sánchez, Ferrán Herranz, Juan Soler Cózar, Carlos Franco, Carlos Aguilar, Alain Petit, Pedro Temboury, Daniel y Thomas Lesoeur, Tomás Cimadevilla, Luis Revenga, Stephen Thrower, Bob Monell, Pedro Calleja y Manuel Valencia. A los que me apoyaron logísticamente: Antonio Lázaro-Reboll, Toni L. Querol, Trinidad del Río, Chema Martín, Carlos Reviriego y todo el equipo de Filmoteca Española. Y a los que soportaron con tanta generosidad y buen humor mis manías y mis ausencias: Teilor Castro, Manuel Romo y mi querida familia. 5 Jess Franco: de los márgenes al cine de autor 6 «Y no sabe cómo me alegro de que empiecen a tomar en serio a quien tuvo la gran virtud de nunca tomarse a sí mismo de tan aburrida manera.» Javier Marías, sobrino de Jesús Franco. 7 Jess Franco: de los márgenes al cine de autor 8 0. RESUMEN Y PALABRAS CLAVE 0.1. Resumen / Abstract……………………………………………………15 0.2. Palabras clave / Keywords…………………………………………….16 1. INTRODUCCIÓN 1.1. Objeto y propósito de la tesis………………………………………….21 1.2. Márgenes y cine de autor. Justificación personal……………………26 1.3. El mito de Jess Franco…………………………………………………40 1.4. Jess Franco: oportunidad, finalidad y valor cultural………………..63 1.5. Recursos………………………………………………………………..74 2. TEORÍAS PREVIAS Y ESTADO DE LA CUESTIÓN 2.1. La historia del cine de serie B…………………………………………79 2.2. La historia del cine de Jess Franco……….…………………………...93 2.3. Literatura y Jess Franco: la Picaresca………………………………106 2.4. Literatura y Jess Franco: el Gótico………………………………….112 2.5. Literatura y Jess Franco: El Marqués de Sade…………………….125 2.6. Psicoanálisis y surrealismo…………………………………………..133 2.7. Meta-historia y melodrama………………………………………….145 3. DISEÑO DE LA INVESTIGACIÓN 3.1. Acotación y perspectiva……………………………………………...155 3.2. Cuestiones problemáticas……………………………………………161 3.3. Objetivos generales y específicos…………………………………….162 3.4. Hipótesis………………………………………...……………....…… 163 3.5. Métodos y técnicas científicas………………………………….…….164 3.6. Marco metodológico 3.6.1. Historia y discurso…………………………………………….…...167 3.6.2. Análisis del discurso franquiano…………………………………..180 3.6.2.1. El tiempo del relato…………………………………….…..181 3.6.2.2. Los aspectos del relato…………………………………….185 3.6.2.3. Los modos del relato……………………………………….189 9 Jess Franco: de los márgenes al cine de autor 3.6.3. Analizando una historia «sin contenido»…………………………..195 3.7. Procedimientos……………………………………………………….204 3.7.1. Cuestiones sobre el corpus………………………………………...205 4. ANÁLISIS E INTERPRETACIÓN: Historia vs. Discurso 4.1. La historia franquiana……………………………………………….211 4.1.1. Picaresca……………………………………………….……….....213 4.1.1.1. Personajes de Picaresca. 4.1.1.2. Sucesos de Picaresca. 4.1.1.3. Escenarios: espacios y tiempos de Picaresca. 4.1.2. Corrupción…………………………………………….…………..222 4.1.2.1. Personajes de Corrupción. 4.1.2.2. Sucesos de Corrupción. 4.1.2.3. Escenarios: espacios y tiempos de Corrupción. 4.1.3. Misterio…………………………………………….……………...234 4.1.3.1. Personajes de Misterio. 4.1.3.2. Sucesos de Misterio. 4.1.3.3. Escenarios: espacios y tiempos de Misterio. 4.1.4. Romance………………………………………….……….………241 4.1.4.1. Personajes de Romance. 4.1.4.2. Sucesos de Romance. 4.1.4.3. Escenarios: espacios y tiempos de Romance. 4.1.5. Otras características de la historia franquiana………..……………247 4.1.5.1. Pornografía. 4.1.5.2. Historia invertebrada y anti-historia. 4.2. El discurso franquiano 4.2.1. El tiempo del relato…………………………….………………….263 4.2.1.1. El orden del relato……………………….………………...264 4.2.1.2. Selección y frecuencia…………………….……………….268 4.2.1.3. La duración…………………………….………………….281 4.2.2. Los aspectos del relato………………………….…………………288 4.2.2.1. Narradores………………………………………………...291 10 4.2.2.2. Autor real e implícito……………………………………....307 4.2.2.3. Narratarios..………………………………………………312 4.2.2.4. Ironía entre enunciadores y destinatarios………………....321 4.2.3. Los modos del relato…………………………………..……….….327 4.2.4. Retórica del relato…………………………………..………….….334 4.2.4.1. La mirada voyerista………………………….…….….…...335 4.2.4.2. La mirada extática………………………….……….….….346 4.2.4.3. La mirada cruda………………………….…………….….357 4.2.4.4. La mirada mediterránea………………….…………….….368 5. CONCLUSIONES 5.1. Respuesta a las cuestiones problemáticas……………………….…..379 5.2. Cumplimiento de objetivos…………………………………………..384 5.3. Contraste de las hipótesis…………………………………………….386 5.4. Conclusiones generales………………………………………………389 6. DISCUSIÓN 6.1. Análisis crítico………………………………………………………..397 6.2. Aportaciones………………………………………………………….400 6.3. Nuevas líneas de investigación, nuevas hipotesis…………….……..404 7. FUENTES 7.1. Referencias bibliográficas…………………………………………...409 7.2. Filmografía y fuentes videográficas……………………………...….429 8. ÍNDICE ONOMÁSTICO Y TEMÁTICO………………………………….447 9. ANEXOS 9.1. Entrevista personal a Jess Franco…………………………………...453 9.2. Entrevista personal a Juan Soler Cózar………………………….…469 11 Jess Franco: de los márgenes al cine de autor ÍNDICE DE IMÁGENES Y GRÁFICOS Figura 1. Matrícula. Fuente: Biblioteca de Filmoteca Española………………………...43 Figura 2. Censura. Fuente: Archivo General de la Administración……………………..48 Figura 3. Número de películas por años. Fuente: Elaboración propia…………….……105 Figura 4. Delvaux y Jess Franco. Fuente: Google Imágenes………………………..….139 Figura 5. Los géneros del cuerpo. Fuente: Williams, 1991, p.9…………………..……151 Figura 6. Reparto de historias. Fuente: Elaboración propia………………………..…..212 Figura 7. Al Pereira. Fuente: Google Imágenes………………………………………..217 Figura 8. Personajes Picaresca. Fuente: Elaboración propia…………………………...217 Figura 9. Sucesos Picaresca. Fuente: Elaboración propia……………………………...219 Figura 10. Espacios de Picaresca. Fuente: Google Imágenes………………………….221 Figura 11. Mujeres fatales. Fuente: Google Imágenes…………………………………225 Figura 12. Personajes de Corrupción. Fuente: Elaboración propia…………………….227 Figura 13. Sucesos de Corrupción. Fuente: Elaboración propia……………………….231 Figura 14. Espacios de Corrupción. Fuente: Elaboración propia………………………233 Figura 15. Inspector Tanner. Fuente: Google Imágenes……………………………….237 Figura 16. Personajes de Misterio. Fuente: Elaboración propia………………………..238 Figura 17. Sucesos de Misterio. Fuente: Elaboración propia…………………………..240 Figura 18. Personajes de Romance. Fuente: Elaboración propia………………………243 Figura 19. Sucesos de Romance. Fuente: Elaboración propia…………………………245 Figura 20. Espacios de Romance. Fuente: Google Imágenes………………………….246 Figura 21. Distorsión narrativa. Fuente: Google Imágenes……………………………261 Figura 22. Números eróticos. Fuente: Google Imágenes………………………………270 Figura 23. Miradas. Fuente: Google Imágenes…………………………………….…..275 12 Figura 24. Cronotopos mediterráneos. Fuente: Google Imágenes……………………..279 Figura 25. Flores. Fuente: Google Imágenes…………………………………………..281 Figura 26. Cámara subjetiva. Fuente: Bloody Moon. Severin Films, [DVD]………..…303 Figura 27. Interpelación. Fuente: Google Imágenes……………………………….…..304 Figura 28. Espejos. Fuente: Google Imágenes…………………………………….…..310 Figura 29. Espejos 2. Fuente: Google Imágenes…………………………………….…311 Figura 30. Narratarios. Fuente: Google Imágenes……………………………………..312 Figura 31. Gafas espejo. Fuente: Google Imágenes……………………………………315 Figura 32. Ojos. Fuente: Google Imágenes……………………………………………316 Figura 33. Imagen afección. Fuente: Grabación propia…………………………….….328 Figura 34. Representación teatral. Fuente: Grabación propia……………………….…330 Figura 35. Mirones. Fuente: El mirón y la exibicionista. Cine X nº 35 [DVD]……..….333 Figura 36. Mirada voyeur. Fuente: Tenemos 18 años, YouTube……………………....336 Figura 37. Zoom. Fuente: El ataque de las vampiras. RSR Multimedia [DVD]…….....343 Figura 38. Mirada extática. Fuente: Gritos en la noche. Regia Films [DVD]……….....348 Figura 39. Mirada extática 2. Fuente: El sádico de Notre Dame. Filmax [DVD]……....349 Figura 40. Miradas extáticas 3. Fuente: Google Imágenes………………………….…350 Figura 41. Mirada al mar. Fuente: Google Imágenes…………………………….…….351 Figura 42. Deslumbramientos. Fuente: Google Imágenes……………………….…….353 Figura 43. Expresionismo francés. Fuente: Dr Orloff’s Monster. Image Ent. [DVD]....354 Figura 44. Desenfoques. Fuente: 99 Women. Blue Underground [Blu-ray]……….…..355 Figura 45. Mirada cruda. Fuente: Cannibals. Blue Underground [DVD]………..…….363 Figura 46. Metafísica mediterránea. Fuente: Google Imágenes……………………….369
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