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El Cine De La Nūberu B Gu Como Correlato Artístico

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El Cine De La Nūberu B Gu Como Correlato Artístico ADVERTIMENT. Lʼaccés als continguts dʼaquesta tesi queda condicionat a lʼacceptació de les condicions dʼús establertes per la següent llicència Creative Commons: http://cat.creativecommons.org/?page_id=184 ADVERTENCIA. El acceso a los contenidos de esta tesis queda condicionado a la aceptación de las condiciones de uso establecidas por la siguiente licencia Creative Commons: http://es.creativecommons.org/blog/licencias/ WARNING. The access to the contents of this doctoral thesis it is limited to the acceptance of the use conditions set by the following Creative Commons license: https://creativecommons.org/licenses/?lang=en THE NŪBERU BĀGU FILM TREND AS AN ARTISTIC CORRELATE OF THE JAPANESE NEW LEFT A Political Reading of Cultural Productions EL CINE DE LA NŪBERU BĀGU COMO CORRELATO ARTÍSTICO DE LA NUEVA IZQUIERDA JAPONESA Una lectura política de las producciones culturales Tesi Doctoral Ferran de Vargas 2020 Dirigida pel Dr. Blai Guarné Doctorat en Traducció i Estudis Interculturals: Cultura, pensament i interculturalitat de l’Àsia Oriental Departament de Traducció i Interpretació i d’Estudis de l’Àsia Oriental ÍNDICE NOTA LINGÜÍSTICA ............................................................................................................4 RESUMEN ..............................................................................................................................5 ABSTRACT ............................................................................................................................8 AGRADECIMIENTOS .........................................................................................................11 1. INTRODUCCIÓN .............................................................................................................13 1. 1. Hipótesis, objetivos y objeto de estudio ....................................................................14 1. 2. Marco teórico .............................................................................................................17 1. 3. Enfoque metodológico ...............................................................................................20 1. 3. 1. Ideología: una definición ...................................................................................20 1. 3. 2. El “análisis ideológico” del cine ........................................................................28 2. JAPAN’S NEW LEFT AND NEW WAVE. AN IDEOLOGY’S PERSPECTIVE AS AN ALTERNATIVE TO THAT OF NATIONAL CINEMA .....................................................38 2. 1. Introduction ...............................................................................................................38 2. 2. Nation, National Cinema and the Ideology of Cinema: The Case of Japan ..............40 2. 3. New Left Ideology and the Formation of the Japanese New Wave ..........................46 2. 4. Eros + Massacre as a Reflection of Japan’s New Left Ideology ..............................50 2. 5. Conclusions ...............................................................................................................57 3. AUTONEGACIÓN, MEMORIA Y ESPACIO EN EL CINE DE YOSHIDA KIJŪ .......59 3. 1. Introducción ...............................................................................................................59 3. 2. Subjetividad y autonegación en la Nueva Izquierda..................................................61 3. 3. Subjetividad y autonegación en la teoría fílmica de Yoshida ....................................71 2 3. 4. Memoria y espacio en Eros + Masacre .....................................................................74 4. TIRA LOS LIBROS, SAL A LA CALLE. EL CONCEPTO DE TAISHŪ DE YOSHIMOTO TAKAAKI Y LA CONCEPCIÓN DEL CINE DE TERAYAMA SHŪJI ...........................83 4. 1. Introducción ...............................................................................................................83 4. 2. El concepto de taishū de Yoshimoto Takaaki ...........................................................87 4. 3. Sho o suteyo machi e deyō como correlato fílmico de la teoría de Yoshimoto .........93 4. 4. Conclusión ...............................................................................................................102 5. CONCLUSION ...............................................................................................................103 6. APPENDIX. RADICAL SUBJECTIVITY AS A COUNTER TO JAPANESE HUMANIST CINEMA. ŌSHIMA NAGISA’S NŪBERU BĀGU .....................................120 BIBLIOGRAPHY ...............................................................................................................121 FILMOGRAPHY ................................................................................................................129 3 NOTA LINGÜÍSTICA En esta tesis doctoral la transcripción de palabras japonesas ha seguido el sistema de romanización Hepburn. Por otra parte, los nombres japoneses de personas siguen el orden utilizado en Japón, consistente en colocar primero el apellido y después el nombre propio, excepto en el caso de autores de textos académicos. 4 RESUMEN Esta tesis doctoral analiza la corriente cinematográfica de la Nūberu Bāgu partiendo de la premisa de que sus características permiten considerarla un componente integrante de la ideología de la Nueva Izquierda japonesa, perteneciendo ambos fenómenos a la denominada “época de la política” (seiji no kisetsu) (1966-1971). Desde este enfoque, la comprensión de determinado tipo de cine es una vía para adquirir un mayor entendimiento de la ideología a la que pertenece, así como la comprensión de determinada ideología en su conjunto es una vía para un mayor entendimiento de los elementos que la componen, entre ellos el cine. A nivel metodológico, en primer lugar propongo mi propia definición del concepto de “ideología” partiendo de algunas de las aproximaciones de Plamenatz (1983), Eagleton (1997), Žižek (2003) y Kellner (2011). En base a esta definición, articulo una metodología de “análisis ideológico” del cine partiendo de algunas de las concepciones de Thompson (1984, 2002), Zavarzadeh (1991) y Kellner (1993; 2011). El núcleo de esta metodología es la lectura de las películas como textos cuyos elementos internos sirven a los intereses externos de determinados grupos sociopolíticos en una relación de poder significativa con otros grupos sociopolíticos. En el caso que nos ocupa, esto implica fundamentalmente decodificar las líneas de continuidad que conectan el cine de la Nūberu Bāgu con otros componentes ideológicos de la Nueva Izquierda japonesa, así como con la ideología de dicho grupo sociopolítico en su conjunto, opuesta principalmente a la Vieja Izquierda japonesa. Para llevar a cabo el “análisis ideológico” de la Nūberu Bāgu, selecciono una muestra de dos películas paradigmáticas a través de las cuales discernir una serie de elementos característicos de dicha corriente cinematográfica que permitan configurar un modelo para abordarla como una parte integrante de la ideología de la Nueva Izquierda japonesa, pudiendo este modelo servir para estudios posteriores. Se trata de Eros + Masacre (Erosu purasu Guakusatsu, 1969), de Yoshida Kijū, y Tira los libros, sal a la calle (Sho o suteyo machi e deyō, 1971), de Terayama Shūji. Son películas estrenadas en momentos históricos con implicaciones significativamente distintas y filmadas por directores con sensibilidades divergentes, pero precisamente estas discontinuidades 5 facilitan la demostración de que ambas obras contienen un núcleo de características estable que permiten establecer un modelo unitario (bajo el nombre de Nūberu Bāgu), perteneciente a una ideología unitaria (bajo el nombre de Nueva Izquierda). El “análisis ideológico” de la Nūberu Bāgu llevado a cabo en este estudio consta de tres fases. En la primera fase, en primer lugar presento el enfoque metodológico del “análisis ideológico” del cine en contraposición al del cine nacional; a través de esta contraposición, se entenderá mejor la conveniencia del “análisis ideológico” a la hora de abordar el cine. En segundo lugar, abordo el contexto de las relaciones de poder del Japón de la época en que surgió la Nūberu Bāgu, expongo las características generales de la ideología de la Nueva Izquierda japonesa, y a continuación analizo Eros + Masacre decodificando las conexiones entre el texto de la película y esta ideología en su conjunto (de la que forma parte como componente doctrinal). En la segunda fase investigo la relación entre el cine de la Nūberu Bāgu, continuando con el caso ilustrativo de Eros + Masacre, y la conciencia colectiva imperante en la Nueva Izquierda japonesa de la importancia de la subjetividad humana (shutaisei) concebida como autonegación del sujeto (jiko hitei) (y que constituye un componente subjetivo de esta ideología). Para ello, me centro en dos aspectos clave del cine de Yoshida Kijū a través de los cuales despliega su visión de la subjetividad como autonegación: el espacio y la memoria. En la tercera fase, relaciono analíticamente la teoría política de uno de los pensadores más importantes en la conformación de la Nueva Izquierda japonesa, Yoshimoto Takaaki, y la concepción del cine de Terayama Shūji, a través del caso ilustrativo de su película Tira los libros, sal a la calle. En esta fase me fijo en cómo Yoshimoto a través de la teoría política y Terayama a través de la práctica del cine, expresan una visión similar de la relación entre la figura del intelectual y las masas, pudiendo estas expresiones ser consideradas parte del mismo cuerpo
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