Las Metamorfosis De Jordi Grau. Cine, Crãłtica Social Y Transformaciã³n
Total Page：16
File Type：pdf, Size：1020Kb
University of South Carolina Scholar Commons Theses and Dissertations 2017 Las Metamorfosis De Jordi Grau. Cine, Crítica Social Y Transformación Cultural En España (1962-1976) Hugo Pascual Bordón University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Spanish Literature Commons Recommended Citation Bordón, H. P.(2017). Las Metamorfosis De Jordi Grau. Cine, Crítica Social Y Transformación Cultural En España (1962-1976). (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/4308 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. LAS METAMORFOSIS DE JORDI GRAU. CINE, CRÍTICA SOCIAL Y TRANSFORMACIÓN CULTURAL EN ESPAÑA (1962-1976) by Hugo Pascual Bordón Bachelor of Arts Complutense University, 2010 Master of Arts King Juan Carlos University, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy in Spanish College of Arts and Sciences University of South Carolina 2017 Accepted by: María C. Mabrey, Major Professor Mercedes López Rodríguez, Committee Member Francisco J. Sánchez, Committee Member Alberto Villamandos, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Hugo Pascual Bordón, 2017 All Rights Reserved. ii DEDICATION To my mother, Carmen Bordón Martínez. iii ACKNOWLEDGEMENTS This work was made possible thanks to many years of collaboration with my mentors, colleagues, friends and family. First, I want to thank my research director, María Mabrey, for encouraging me throughout this project. Her guidance and expertise during the proposal and writing process has been essential for the successful completion of this work. Thank you, also, to my dissertation Committee members, Francisco Sánchez and Mercedes López Rodríguez for their valuable comments and support. Finally, thanks to Alberto Villamandos, from University of Missouri-Kansas City, for kindly agreeing to join this Committee, despite the distance. Special thanks to Isis Sadek and Raúl Diego Rivera Hernández, Committee members in the early stages of my graduate studies; to my academic advisor, Eric Holt; and my teaching supervisor Nina Moreno. I appreciate, very much, the support of the faculty and staff in the Department of Languages, Literatures and Cultures at the University of South Carolina. The financial support of the Department, as well as the Graduate School, has been essential for my participation at conferences and symposiums in the United States and Spain, where I have shared portions of this dissertation. The support has been particularly valuable for my research at Filmoteca de Catalunya, Filmoteca Española and Biblioteca Nacional de España, all intitutions whose staff were helpful in providing me with first- hand accounts and materials used in the analyses found in this work. I want to thank my colleagues, specifically the other graduate students at the Department, some of whom iv became my close friends. We have supported one another through the ups and downs of our initiation into the life of academics. The past four years in Columbia will always be an important part of my life that I will cherish no matter where I go. Across the Atlantic in Spain, I want to thank my professors at King Juan Carlos University, Luis Alonso García and Begoña Soto Vázquez, who encouraged me to pursue my doctoral studies in the United States. To all my close family and friends, most of them in Madrid and Barcelona, I am indebted to your constant support, despite being busy and far away. I want to thank, in particular, Ángel and Mariluz Arranz for putting me in contact with Jordi Grau. Their friendship with Grau enabled me to sit down with the director to conduct an interview, which can be found in the appendix of this dissertation. I was fortunate to visit and converse with such a great filmmaker and person, who lies at the center of this project. Jordi Grau’s films have been more than an inspiration to me. By analyzing his work and its cultural context, I have learned many things that I attempt to explain in the following pages. Most of all, this work has given me a better understanding of where I come from, which I am grateful to share. v ABSTRACT This project focuses on the cultural transformation taking place in Spain in the period between 1962 and 1976, examined through the works of filmmaker Jordi Grau (Barcelona, 1930). This research invites the opportunity to assemble a cultural study that includes subjects such as national identity, realist film aesthetics, avant-garde films, and horror films. In addition, it observes some of Grau’s work in conjunction with gender studies and pop culture. The thesis of this project is that Jordi Grau directed films encompassing different genres in a short period of time; all while assuming and adapting to the changes of his sociopolitical environment. This research provides evidence that despite the circumstances surrounding Grau’s films, there exists a constant discourse questioning the uneven development of Spanish society during the late Francoism. Grau’s film career spans from 1957 until 1995, but this project focuses mainly on the period between 1962 and 1976. This chronology emphasizes two crucial moments in Spanish society, related to Grau’s career: the opening-up of the Franco regime in 1962 with Grau’s first feature film, Noche de verano (Summer Night); and Grau’s audience success in 1976, La trastienda (Blood and Passion), with the end of the dictatorship and the Transition to democracy. vi CONTENIDO DEDICATION ....................................................................................................................... iii ACKNOWLEDGEMENTS........................................................................................................ iv ABSTRACT .......................................................................................................................... vi INTRODUCCIÓN: DE LA APERTURA AL DESTAPE ....................................................................1 0.1. MARCO TEÓRICO ..................................................................................................5 0.2. LA OBRA DE JORDI GRAU: ESTUDIO Y REPERCUSIÓN ...........................................12 0.3. APUNTES BIOGRÁFICOS SOBRE JORDI GRAU ........................................................16 CAPÍTULO 1: NUEVO CINE ESPAÑOL ....................................................................................23 1.1. LA APERTURA: CONTRADICCIONES Y PARADOJAS ..............................................24 1.2. CINE DE AUTOR Y NUEVO CINE ...........................................................................38 1.3. NOCHE DE VERANO .............................................................................................54 1.4. EL ESPONTÁNEO .................................................................................................76 CAPÍTULO 2: ESCUELA DE BARCELONA ...............................................................................91 2.1. UN CAMBIO DE PARADIGMA................................................................................93 2.2. UNA HISTORIA DE AMOR ...................................................................................104 2.3. BARCELONA 1967 ............................................................................................116 2.4. LÍMITES DE LA REALIDAD Y LA FICCIÓN ............................................................133 CAPÍTULO 3: CINE DE TERROR ..........................................................................................143 3.1. LA “EXPLOSIÓN” DEL CINE DE TERROR ESPAÑOL ..............................................144 3.2. CEREMONIA SANGRIENTA .................................................................................153 vii 3.3. PENA DE MUERTE ..............................................................................................161 3.4. NO PROFANAR EL SUEÑO DE LOS MUERTOS .......................................................167 CAPÍTULO 4: CINE POPULAR .............................................................................................179 4.1. CULTURA POPULAR Y “COMEDIA SEXY” ...........................................................180 4.2. EL SECRETO INCONFESABLE… .........................................................................188 4.3. LA TRASTIENDA ................................................................................................196 4.4. LA SIESTA .........................................................................................................213 CONCLUSIONES .................................................................................................................223 OBRAS CITADAS ................................................................................................................227 ÍNDICE DE PELÍCULAS ........................................................................................................246 APÉNDICE A – ENTREVISTA CON JORDI GRAU ...................................................................253 viii “El espontáneo ahora –quiero decir en estos tiempos– suele ser un muchacho joven, aparentemente sano, ágil, generalmente no mal vestido. Nada puede hacernos suponer que la motivación de su acto sea un interés o una ambición egoísta. Puede serlo, acaso, la vanidad; el presumir de