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Redalyc.INTERTEXTUALIDAD Y METACINE EN LA SIRENA DEL Quintana. Revista de Estudos do Departamento de Historia da Arte ISSN: 1579-7414 [email protected] Universidade de Santiago de Compostela España García-Manso, Angélica INTERTEXTUALIDAD Y METACINE EN LA SIRENA DEL MISSISSIPPI, DE FRANÇOIS TRUFFAUT Quintana. Revista de Estudos do Departamento de Historia da Arte, núm. 15, 2016, pp. 117-129 Universidade de Santiago de Compostela Santiago de Compostela, España Disponible en: http://www.redalyc.org/articulo.oa?id=65354336010 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto INTERTEXTUALIDAD Y METACINE EN LA SIRENA DEL MISSISSIPPI, DE FRANÇOIS TRUFFAUT Data recepción: 2016/02/23 Angélica García-Manso Data aceptación: 2016/06/03 Universidad de Extremadura Contacto autora: [email protected] RESUMEN El presente artículo analiza las concomitancias de carácter temático e iconográ co que existen entre La sirena del Mississippi ( La sirène du Mississippi ), película dirigida por François Truffaut, y dos lmes de Alfred Hitchcock: Vértigo ( Vertigo , 1958) y Marnie, la ladrona ( Marnie , 1964). Y es que el ambiente ciné lo que imperó en los “nuevos cines” de los años sesenta, especialmente en la Nou- velle Vague , dio como resultado ejemplos de metacine e intertextualidad fílmica tan logrados como este largometraje rodado en 1969. Palabras clave: historia del cine, intertextualidad fílmica, Truffaut, Hitchcock, Nouvelle Vague ABSTRACT This paper analyses the thematic and iconographic parallels between François Truffaut’s Mississip- pi Mermaid ( La sirène du Mississippi ) and two lms by Alfred Hitchcock: Vertigo (1958) and Marnie (1964). The connoisseurial ambience that characterised the new cinema of the 1960s, and which was particularly evident in the French Nouvelle Vague , produced examples of metacinema and lmic intertextuality of the stature of Truffaut’s 1969 masterpiece. Keywords: history of cinema, lmic intertextuality, Truffaut, Hitchcock, French Nouvelle Vague 1. La cine lia en los “nuevos cines” de más películas por día, al tiempo que visionaban los años sesenta de forma reiterada sus lmes favoritos. Con las retinas impregnadas por los millones de fotogra- En una visión retrospectiva de la Historia del mas que habían contemplado en la oscuridad de Cine, hay un momento de su evolución en el que las salas del Barrio Latino, los representantes de la cuestión del cine dentro del cine – en lo rela- la “Nueva Ola” francesa fueron pioneros en re- tivo al Séptimo Arte como tema fílmico y, sobre exionar sobre el medio en el que estaban traba- 1 todo, a los intertextos cinematográ cos – cobra jando y, de hecho, sus lmes no pueden desligar- un especial relieve: nos referimos a los “nuevos se de la fecunda autoconciencia cinematográ ca cines” surgidos en la década de 1960, y, funda- que los sustenta. mentalmente, a la Nouvelle Vague . Tras los ataques al cine academicista francés Los realizadores que se formaron y debuta- que ellos mismos habían efectuado desde las pá- ron en esta época compartían una intensa cine - ginas de Cahiers du Cinéma 3, defendieron a ul- lia 2 que manifestaban a través de un consumo ci- tranza a una serie de cineastas norteamericanos nematográ co compulsivo: así, frecuentaban las (Howard Hawks, Nicholas Ray y Samuel Fuller, salas de cine hasta el punto de llegar a ver una o entre otros) y europeos (Jean Renoir, Jean Coc- QUINTANA Nº15 2016. ISSN 1579-7414. pp. 117-129 118 Intertextualidad y Metacine en La Sirena del Mississippi, de François Truffaut teau, Robert Bresson y Jacques Tati guran entre pululan por su lmografía pueden servir de bo- los escasos compatriotas, por así decir, “amnis- tón de muestra a este respecto. tiados”) para argumentar la urgencia de una re- Aunque de un modo más solapado que Go- novación cinematográ ca así como el novedoso dard, también Claude Chabrol cita Boudu sal- lenguaje que ellos proponían. vado de las aguas ( Boudu sauvé des eaux , Jean Cultivadores de géneros clásicos (primordial- Renoir, 1932) en Los primos ( Les cousins , 1959); mente el cine negro 4, pero también el fantástico Monsieur Verdoux (Charles Chaplin, 1946) y el musical) 5 y fervientes admiradores del cine constituye un obvio e inmediato referente para americano 6, los nuevos cineastas convirtieron su Landru (1962), mientras que la devoción hitch- Angélica García-Manso máximo objeto de culto – el cine – en material cockiana de este cineasta recorre todo su corpus argumental o inserción narrativa de sus pelícu- fílmico. Algo similar ocurre con Jacques Rivette y las, las cuales, de una forma u otra, siempre ha- su admiración por Fritz Lang. blan de cine: las historias centradas en un roda- En Italia, y al margen ya de la Nouvelle Va- je, las escenas que transcurren en el interior de gue , Bernardo Bertolucci siguió los pasos de su una sala cinematográ ca, los diálogos en los que admirado Godard insertando citas a Howard se introducen títulos o nombres de los persona- Hawks, la pareja formada por Humphrey Bo- jes de otras películas, la presencia en la pantalla gart y Lauren Bacall, y el dúo cómico de Laurel de directores ilustres (caso de Fritz Lang o el ya citado Fuller, por ejemplo), etcétera, no son en y Hardy en Antes de la revolución ( Prima della absoluto elementos gratuitos. rivoluzione , 1964). En esta película, además, uno de los personajes a rma que Une femme Y es que, como bien recapitula Xavier Pérez, est une femme es un lme más comprometido “(...) El propio cine, el cine como herramienta que los rmados por Carlo Lizzani y De Santis, rosselliniana de conocimiento y transformación para después proclamar que “¡No se puede vivir de lo visible, acabó convirtiéndose en sujeto y sin Rossellini!”. objeto de la Nouvelle Vague , en su auténtico tema preeminente. Este movimiento estético En el resto de lmografías nacionales se loca- hizo del cine y sus procedimientos el espacio lizan ejemplos igualmente signi cativos: el prota- temático central de su aventura colectiva (...). gonista de If... (Lindsay Anderson, 1968) apare- Podemos nalmente convenir que el tema cen- ce embozado con sombrero y bufanda igual que tral de la Nouvelle Vague es la existencia de sus Ivor Novello en El vengador ( The Lodger , Mau- propios lmes: su especular y desacomplejado rice Elvey, 1932); Karel Reisz incluye secuencias encuentro con la Historia del Cine” 7. del King Kong de 1933 para subrayar la corres- pondencia con el personaje de Morgan, un caso Esta condición metacinematográ ca de los clínico ( Morgan, a suitable Case for Treatment , nuevos cines de los sesenta es, ante todo, de 1966). Fassbinder bautiza como “Madeleine Fu- carácter intertextual: abundan películas que in- ller” a un personaje de Los dioses de la peste cluyen citas o referencias a lmes previos, gene- (Götter der Pest , 1969), que reaparecerá en El ralmente presentadas como una forma de ho- soldado americano ( Der Americanische Soldat , menaje a los maestros venerados. El muestrario 1970), película en la que cita explícitamente Ma- de esta intertextualidad fílmica es prolijo. Proba- nos peligrosas ( Pickup on South Street , Samuel blemente sea el de Jean-Luc Godard el caso más Fuller, 1953), como homenaje a este realizador paradigmático en lo que se re ere a la inserción norteamericano 8. de citas cinematográ cas en el propio celuloide: los intertextos de Forty Guns (Sam Fuller, 1957) Sin lugar a dudas, la actividad crítica ejerci- en Al nal de la escapada ( À bout de souf e , da por muchos de estos nuevos cineastas de los 1959) y de Muriel ( Muriel ou Le temps d’un re- años sesenta con carácter previo a su incursión tour , Alain Resnais, 1963) en Deux ou trois cho- en el terreno de la realización fue un factor de- ses que je sais d’elle (1967), así como los perso- cisivo para la gestación de su cine lia 9 y la con- najes denominados “Verónica Dreyer”, “Alfred siguiente dimensión metacinematográ ca que Lubitsch” o “Profesor Leonard Nosferatu” que aplicaron a sus respectivas lmografías. QUINTANA Nº15 2016. ISSN 1579-7414. pp. 117-129 Intertextualidad y Metacine en La Sirena del Mississippi, de François Truffaut 119 En consonancia con estas premisas, el pre- tanto que las distintas escenas en las que Julie sente estudio se propone analizar el sobresalien- Kohler, la protagonista, prepara su maleta an- te in ujo de la lmografía de Alfred Hitchcock tes de abandonar el hogar materno, acude a la que destila La sirena del Mississippi (La sirène du estación, tiñe su pelo de otro color y se cubre Mississippi , 1969), película dirigida por uno de las piernas, remilgadamente, ante la insistencia los cineastas más emblemáticos de la Nouvelle de una mirada masculina representan guiños Vague : François Truffaut. deliberados a Marnie, la ladrona (Marnie , 1964). Desde el punto de vista de la narración, Truffaut 2. Truffaut y la cine lia hitchcockiana emplea el mismo recurso aplicado por el cineas- ta inglés primero en De entre los muertos y más En La noche americana ( La nuit américaine , Angélica García-Manso 1973), François Truffaut homenajea a sus autores tarde en Psicosis ( Psycho , 1960) al revelar antes favoritos cuando el personaje por él interpretado del ecuador del metraje el motivo que impulsa recibe un paquete con libros sobre Buñuel, Dre- a Julie a perpetrar sus crímenes, con lo que el yer, Lubitsch, Bergman, Godard, Hitchcock, Ros- misterio y el suspense que experimenta el es- sellini, Hawks y Bresson, al tiempo que se evoca pectador quedan focalizados en saber cómo, a André Bazin mediante la pregunta “¿Qué es de qué manera se llevarán a cabo los asesinatos el cine?”, formulada por otro de los personajes. restantes. Asimismo, el personaje encarnado por Jeanne Moreau recibe un tratamiento de femme Como se sabe, los trabajos del realizador fatale al más puro estilo hitchcockiano 13 .
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