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EL CINE DE SPIKE LEE: ANÁLISIS DE LA VIOLENCIA SOCIAL EN LA PELÍCULA DO the RIGHT THING Humberto Saldarriaga Pérez

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EL CINE DE SPIKE LEE: ANÁLISIS DE LA VIOLENCIA SOCIAL EN LA PELÍCULA DO the RIGHT THING Humberto Saldarriaga Pérez EL CINE DE SPIKE LEE: ANÁLISIS DE LA VIOLENCIA SOCIAL EN LA PELÍCULA DO THE RIGHT THING Humberto Saldarriaga Pérez Piura, octubre de 2008 FACULTAD DE COMUNICACIÓN Departamento de Comunicación Saldarriaga, H. (2008). El cine de Spike Lee: análisis de la violencia social en la película Do the right thing. Tesis de grado no publicada de Comunicación. Universidad de Piura. Facultad de Comunicación. Piura, Perú. EL CINE DE SPIKE LEE: ANÁLISIS DE LA VIOLENCIA SOCIAL EN LA PELÍCULA DO THE RIGHT THING Esta obra está bajo una licencia Creative Commons Atribución- NoComercial-SinDerivadas 2.5 Perú Repositorio institucional PIRHUA – Universidad de Piura 2 UNIVERSIDAD DE PIURA FACULTAD DE COMUNICACIÓN “El cine de Spike Lee: análisis de la violencia social en la película Do the Right Thing” Tesis que presenta el bachiller HUMBERTO JOSÉ SALDARRIAGA PÉREZ Para optar el Título de LICENCIADO EN COMUNICACIÓN PIURA - PERÚ OCTUBRE – 2008 Al Todopoderoso, a todas las personas que colaboraron con este proyecto y a mi abuela por su confianza y aliento. ÍNDICE ÍNDICE Pág. INTRODUCCIÓN CAPITULO I: EVOLUCIÓN DEL CINE AFROAMERICANO (1) 1- BREVE RECORRIDO HISTÓRICO POR EL CINE AFROAMERICANO (1) 1.1- EL CINE INDEPENDIENTE AFROAMERICANO (2) 1.1.1- DE LA DÉCADA DE 1910 A 1940: EL CINE DE RAZAS (2) 1.1.1.1- OSCAR MICHEAUX (3) 1.1.1.2- PAUL ROBESON (4) 1.1.1.3- SPENCER WILLIAMS JR (5) 1.1.2- DE LA DÉCADA DE 1970 A LA ACTUALIDAD (6) 1.1.2.1- CHARLES BURNNET (6) 1.1.2.2- STANLEY NELSON (7) 1.1.2.3- MARLON RIGGS (8) 1.2- EL CINE COMERCIAL AFROAMERICANO (8) 1.2.1- EL CINE DE RAZAS COMERCIAL Y EL ESTEREOTIPO HOLLYWOODENSE (9) 1.2.1.1- EL CINE DE RAZAS COMERCIAL (9) 1.2.1.2- EL ESTEREOTIPO HOLLYWOODENSE (10) 1.2.2- LA REVALORIZACIÓN DEL NEGRO: SIDNEY POITIER (11) 1.2.3- EL BLAXPLOITATION (12) 1.2.3.1- EL INICIO DEL BLAXPLOITATION (13) 1.2.3.2- EL NACIMIENTO DEL TÉRMINO BLAXPLOITATION (15) 1.2.3.3- EL BLAXPLOTAITION Y LA MODA (16) 1.2.3.4- LA DESAPARICIÓN DEL BLAXPLOITATION (17) 1.2.4- LA GENERACIÓN DE HAZ LO CORRECTO (18) 1.2.4.1- CARACTERÍSTICAS DE LA GENERACIÓN DE HAZ LO CORRECTO (20) 1.2.4.2- LA AMBIVALENCIA INDEPENDIENTE COMERCIAL (21) 1.2.5- LA DIVERSIFICACIÓN DEL CINE AFROAMERICANO (22) 1.2.5.1 CAMBIO DE ORIENTACIÓN DE ALGUNOS DIRECTORES DE LA ETAPA COMERCIAL- INDEPENDIENTE (25) 1.2.5.1.1- JOHN SINGLETTON (25) 1.2.5.1.2- ERNEST DICKERSON (25) 1.2.5.2- ALGUNOS DIRECTORES REPRESENTATIVOS DE LA ETAPA DE DIVERSIFICACIÓN DEL CINE AFROAMERICANO (26) 1.2.5.2.1- CARL FRANKLIN (26) 1.2.5.2.2-ANTOINE FUQUA (26) 1.2.5.2.3- ROBERT TOWSEND (27) 1.2.5.3- LAS PRODUCTORAS AFROAMERICANAS (27) NOTAS AL CAPÍTULO I CAPÍTULO II: EL CONTEXTO DE HAZ LO CORRECTO (34) 1- SPIKE LEE (34) 1.1- BIOGRAFÍA (34) 1.2- FILMOGRAFÍA PRINCIPAL (37) 1.3- El ESTILO DE SPIKE LEE (44) 1.4- INFLUENCIAS CINEMATOGRÁFICAS EN LOS FILMES DE SPIKE LEE (47) 1.4.1- CINEASTAS (48) 1.4.2.1- AKIRA KUROSAWA (48) 1.4.2.2.- JIM JARMUSH (48) 1.4.2.3- MARTIN SCORSESE (49) 1.4.2.4- BILLY WILDER (50) 1.4.2.5- WOODY ALLEN (51) 1.4.2- CORRIENTES CINEMA- TOGRÁFICAS (51) 1.5- CONTEXTO SOCIOPOLÍTICO Y CINEMATOGRÁFICO DE SPIKE LEE (52) 1.5.1- PRINCIPALES HECHOS SOCIOPO- LÍTICOS EN EL MUNDO Y NUEVA YORK ENTRE LOS AÑOS 1960-1980 (53) 1.5.1.1- EN ESTADOS UNIDOS (53) 1.5.1.1.1- LOS AÑOS SESENTA (53) 1.5.1.1.2 - LOS AÑOS SETENTA (57) 1.5.1.1.3- LOS AÑOS OCHENTAS (58) 1.5.1.2- NUEVA YORK (60) 1.5.2- CONTEXTO CINEMATOGRÁFICO (63) 2- LA PRODUCTORA DE SPIKE LEE: 40 ACRES AND A MULE FILMWORKS (66) 3- CONTEXTO DE PRODUCCIÓN Y REPERCUSIONES DE HAZ LO CORRECTO (68) 3.1- EXPERIENCIAS CINEMATOGRÁFICAS PREVIAS DE SPIKE LEE (68) 3.1.1- NOLA DARLING (1986) (68) 3.1.2- AULAS TURBULENTAS (1988) (70) 3.2- LA PRE PRODUCCIÓN DE HAZ LO CORRECTO (72) 3.2. 1- GUIÓN (72) 3.2.1.1- INFLUENCIAS EN LA ELABORACIÓN DE LA HISTORIA (73) 3.2.1.1.1- LA INFLUENCIA DE NATIVE SONG DE RICHARD WRIGHT (73) 3.2.1.1.2- LA RELACIÓN DEL CALOR CON LA VIOLENCIA (74) 3.2.1.1.3- LA INFLUENCIA DE LOS HECHOS REALES (75) A- EL ASESINATO DE MICHAEL GRIFFITH EN HOWARD BEACH (75) B- EL MISTERIO DE LA VIOLACIÓN DE TAWANA BRAWLEY (76) C- LOS ATAQUES POLICIALES A IVONNE SMALLWOOD Y ELEANOR BUMPER (76) D- MICHAEL STEWART MUERE ESTRANGULADO POR LA POLICIA (77) E- EDMUND PERRY ES ASESINADO EN UNA PELEA CON UN POLICÍA (77) F- EL PLEITO POR LA MÚSICA EN UN INSTITUTO DE BROOKLYN (77) 3.2.1.2-LA ELECCIÓN DEL LEIT MOTIV: FIGHT THE POWER (78) 3.2.2- NEGOCIACIONES CON LOS ESTUDIOS UNIVERSAL (79) 3.2.3- EQUIPO DE PRODUCCIÓN (80) 3.2.3.1- LA BASE DE LA PRODUCCIÓN (80) 3.2.3.1.1- MONTY ROSS Y ERNEST DICKERSON (81) 3.2.3.1.2- BARRY ALEXANDER BROWN (81) 3.2.3.1.3- WYNN THOMAS (82) 3.2.3.1.4- EL PRODUCTOR INDEPENDIENTE: JON KILIK (82) 3.2.3.2- OTROS COLABORADORES (83) 3.2.3.2.1- NABET Y LOS TRABAJADORES NEGROS (83) 3.2.3.2.2- LA SEGURIDAD: LA FRUIT DEL ISLAM (83) 3.2.4- LOCACIÓN (84) 3.2.5- CONTACTO A LOS ACTORES (85) 3.2.5.1- DANNY AIELLO (SAL) (86) 3.2.5.2- BILL NUN (RADIO RAHEEM) (86) 3.2.5.3- JOHN TURTURRO (PINO) (86) 3.2.5.4- RICHARD EDSON (VITO) (87) 3.2.5.5- GIANCARLO ESPOSITO (BUGGIN OUT) (87) 3.2.5.6- ROSIE PÉREZ (TINA) (88) 3.2.5.7- ROGER GUENVEUR SMITH (SMILEY) (88) 3.2.5.8- OSSIE DAVIS Y RUBY DEE (DA MAYOR Y MOTHER SISTER) (89) 3.2.5.9- SAMUEL L. JACKSON (MR. SEÑOR LOVE DADDY) (89) 3.2.5.10- JOHN SAVAGE (CLIFTON) (90) 3.2.5.11- JOEI LEE (JADE) (90) 3.2.5.12- ROBIN HARRIS, PAUL BENJAMIN Y FRANKIE R. FAISON (SWEET DICK WILLIE, ML Y COCONUT SID) (90) 3.3- REPERCUSIÓN DE HAZ LO CORRECTO (91) 3.3.1- NOMINACIONES Y PREMIOS EN FESTIVALES DE CINE (91) 3.3.2- LA CRÍTICA Y LAS CONTROVERSIAS (92) 3.3.3- SPIKE LEE, EL PORTAVOZ DEL ACTIVISMO (94) 3.3.4- LA INFLUENCIA EN DIRECTORES Y ACTORES AFROAMERICANOS (96) NOTAS AL CAPÍTULO II CAPÍTULO III: EL ANÁLISIS Y LAS APRECIACIONES DE HAZ LO CORRECTO (107) 1- SINOPSIS ARGUMENTAL (107) 2- SEGMENTACIÓN (107) 2.1- PRÓLOGO (109) 2.1.1- MAIN TITLES (“INTRODUCCIÓN: LUCHA CONTRA EL PODER”) (109) 2.1.1.1- SINOPSIS DE “INTRODUCCIÓN: LUCHA CONTRA EL PODER” (109) 2.1.1.2- CONTENIDO Y FORMA DE “INTRODUCCIÓN: LUCHA CONTRA EL PODER” (110) 2.2- DE MAÑANA (113) 2.2.1- CLOCKERS (“DESPERTÁNDOSE”) (113) 2.2.1.1- SINOPSIS DE “DESPERTÁNDOSE” (113) 2.2.1.2- CONTENIDO Y FORMA DE “DESPERTÁNDOSE” (114) 2.2.2- ANOTHER STAIN (“PETICIONES Y CONSEJOS”) (120) 2.2.2.1- SINOPSIS DE “PETICIONES Y CONSEJOS” (120) 2.2.2.2- CONTENIDO Y FORMA DE “PETICIONES Y CONSEJOS” (121) 2.2.3- ANDRÉ THE GIANT (“OLA DE CALOR”) (124) 2.2.3.1- SINOPSIS DE “OLA DE CALOR” (124) 2.2.3.2- CONTENIDO Y FORMA DE “OLA DE CALOR” (125) 2.2.4- STRIKE AND SHORTY (“DEFENSA DE IDENTIDAD”) (127) 2.2.4.1- SINOPSIS DE “DEFENSA DE IDENTIDAD” (128) 2.2.4.1- CONTENIDO Y FORMA DE “DEFENSA DE IDENTIDAD” (128) 2.3- TARDE (134) 2.3.1- THE PRIME SUSPECT (“El ODIO ESCONDIDO”) (134) 2.3.1.1- SINOPSIS DE “EL ODIO ESCONDIDO” (135) 2.3.1.2- CONTENIDO Y FORMA DE “EL ODIO ESCONDIDO” (135) 2.3.2- THE WRONG BROTHER (“DESAHOGO”) (139) 2.3.2.1- SINOPSIS DE “DESAHOGO” (139) 2.3.2.2- CONTENIDO Y FORMA DE “DESAHOGO” (140) 2.3.3- HOM-O-CIDE (“LA LUCHA DEL AMOR CONTRA EL ODIO”) (143) 2.3.3.1- SINOPSIS DE “LA LUCHA DEL AMOR CONTRA EL ODIO” (144) 2.3.3.2- CONTENIDO Y FORMA DE “LA LUCHA DEL AMOR CONTRA EL ODIO” (144) 2.3.4- KNOCKE NIGHT (TRAMANDO UN BOICOT PARA SAL) (148) 2.3.4.1- SINOPSIS DE TRAMANDO UN BOICOT PARA SAL (148) 2.3.4.2- CONTENIDO Y FORMA DE TRAMANDO UN BOICOT PARA SAL (149) 2.3.5- THE BUFFER (“LOS REPROCHES”) (153) 2.3.5.1- SINOPSIS DE “LOS REPROCHES” (153) 2.3.5.2- CONTENIDO Y FORMA DE “LOS REPROCHES” (154) 2.4- NOCHE (159) 2.4.1- IRIS´ANGER (“MOMENTOS ROMÁNTICOS”) (159) 2.4.1.1- SINOPSIS DE “MOMENTOS ROMÁNTICOS” (160) 2.4.1.2- CONTENIDO Y FORMA DE “MOMENTOS ROMÁNTICOS” (160) 2.4.2- 187 ON THE STRENGTH (LA INTENSIDAD EN LA PIZZERÍA) (162) 2.4.2.1- SINOPSIS DE “LA INTENSIDAD EN LA PIZZERÍA” (163) 2.4.2.2- CONTENIDO Y FORMA DE “LA INTENSIDAD EN LA PIZZERÍA” (163) 2.4.3- IN A JAM (“EN UN APRIETO”) (166) 2.4.3.1- SINOPSIS DE “EN UN APRIETO” (167) 2.4.3.2- CONTENIDO Y FORMA DE “EN UN APRIETO” (167) 2.4.4- GROWN UP STUFF (LA PIZZERÍA ARDE) (171) 2.4.4.1- SINOPSIS DE “LA PIZZERÍA ARDE” (171) 2.4.4.2- CONTENIDO Y FORMA DE “LA PIZZERÍA ARDE” (171) 2.5- LA NUEVA MAÑANA (178) 2.5.1- DONE WITH IT (“LA CALMA REGRESA”) (178) 2.5.1.1- SINOPSIS DE “LA CALMA REGRESA” (178) 2.5.1.2- CONTENIDO Y FORMA DE “LA CALMA REGRESA” (178) 2.6- THE FINAL CALL (EPÍLOGO) (181) 2.6.1- SINOPSIS EPÍLOGO (181) 2.6.2- CONTENIDO Y FORMA EPÍLOGO (182) 3- VALORACIÓN (183) 3.1- FORMA (183) 3.1.1- ESTRUCTURA NARRATIVA (183) 3.1.2- CÓDIGOS VISUALES (184) 3.1.2.1- COMPOSICIÓN (184) 3.1.2.2- MOVIMIENTOS DE CÁMARA (185) 3.1.2.3- ILUMINACIÓN (187) 3.1.3- CÓDIGOS SONOROS (188) 3.1.3.1- DIÁLOGOS (188) 3.1.3.2- MÚSICA (190) 3.1.4- MONTAJE (192) 3.1.5- EXISTENTES (193) 3.1.5.1- PERSONAJES (193) 3.1.5.2- VESTIMENTA (195) 3.1.5.3- ESCENARIO (196) 3.2- CONTENIDO (198) 3.2.1- EL RACISMO (198) 3.2.2- EL CALOR (199) 3.2.3- LA PARED DE LA FAMA (200) 3.2.4- LA CONVIVENCIA EN BED STUY (201) 3.2.4.1- RELACIÓN ENTRE HOMBRES Y MUJERES (201) 3.2.4.2- RELACIÓN ENTRE ANCIANOS Y JÓVENES (202) 3.2.4.3- RELACIÓN ENTRE ETNIAS (202) 3.2.4.4- RELACIÓN ENTRE EMPRESARIO Y TRABAJADOR (203) 3.2.4.5- RELACIÓN ENTRE LOS POBLADORES DE BED STUY Y LA AUTORIDAD (204) 3.2.5- EL MENSAJE POLÍTICO DE SPIKE LEE (205) 3.2.6- EL EJERCICIO INTELECTUAL EN EL ESPECTADOR (206) 3.2.7- SIMILITUDES DE HAZ LO CORRECTO CON LOS DISTURBIOS DE LOS ÁNGELES, 1992 (207) 3.2.7.1- CONTEXTO (208) 3.2.7.2- REACCIONES VIOLENTAS (209) 3.2.7.3- REACCIONES POLÍTICAS (211) 3.2.7.4- EL MENSAJE DE LA MÚSICA ANTE EL DESCONTENTO SOCIAL (212) NOTAS AL CAPÍTULO III CONCLUSIONES BIBLIOGRAFÍA ANEXOS INTRODUCCIÓN Do the Right Thing (Haz lo correcto, Spike Lee, 1989) es una pieza clave en la historia del cine afroamericano.
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