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Historia Y Cine EEUU DIG.Indd Coro Rubio Pobes (editora) La Historia a través del cine Estados Unidos: una mirada a su imaginario colectivo La Historia a través del cine Estados Unidos: una mirada a su imaginario colectivo Coro Rubio Pobes (editora) ARGITALPEN ZERBITZUA SERVICIO EDITORIAL La publicación de este libro ha sido posible gracias a la colaboración del Centro Cultural Montehermoso (Ayto. de Vitoria-Gasteiz) y el Instituto Valentín de Fo- ronda (UPV/EHU). © Servicio Editorial de la Universidad del País Vasco Euskal Herriko Unibertsitateko Argitalpen Zerbitzua ISBN: 978-84-9860-471-9 Depósito legal/Lege gordailua: BI - 3.394-2010 Fotocomposición/Fotokonposizioa: Ipar, S. Coop. Zurbaran, 2-4 - 48007 Bilbao Impresión/Inprimatzea : Itxaropena, S.A. Araba Kalea, 45 - 20800 Zarautz (Gipuzkoa) ÍNDICE Presentación. El imaginario estadounidense a través del cine Coro Rubio Pobes . 11 Glory (1989). Una visión dramatizada sobre el origen de los Buffalo Soldiers Óscar Álvarez Gila . 19 1. Introducción . 19 2. Glory (1989) . 22 3. El contexto histórico . 27 4. Entre la ficción y la historia: el 54.º Regimiento de Massachusetts . 37 5. Epílogo. 48 Ficha técnica . 49 Los violentos años veinte: gánsters, prohibición y cambios socio-políticos en el primer tercio del siglo XX en Estados Unidos Aurora Bosch . 51 1. Introducción . 51 2. Reformismo, americanismo y lucha contra el alcohol: respuestas históricas a cambios sociales rápidos . 53 3. La I Guerra Mundial y el triunfo de la prohibición . 64 4. Corrupción, violencia y criminalidad: la transforma- ción del mundo del crimen. 68 7 5. Movilización de clases medias contra la prohibición 75 6. Conclusión . 79 Ficha técnica . 81 La crisis de la democracia en América. Caballero sin espa- da (Frank Capra, 1939) José-Vidal Pelaz López . 83 1. Frank Capra, su cine y su tiempo . 83 2. Frank Capra visita Washington . 90 3. Capra en perspectiva . 101 Ficha técnica . 110 El manantial, una apología del individualismo norteameri- cano José Luis Sánchez Noriega . 111 1. Ficciones para conocer la realidad histórica . 111 2. Una partitura interpretada a cuatro manos . 114 3. La voluntad divina del arquitecto . 116 4. Exaltación del héroe individual, sospecha del con- senso democrático . 119 5. Cine clásico en estado puro . 121 Ficha técnica . 124 Cine y elecciones. El candidato como paradigma del género Carlos Flores Juberías . 125 1. Cine y elecciones: haciendo campaña desde la pan- talla grande . 125 2. El candidato como paradigma del género . 141 Ficha técnica . 155 La «diplomacia atómica» en la Guerra Fría y Estados Uni- dos. ¿Teléfono rojo? Volamos hacia Moscú Coro Rubio Pobes . 157 1. «El niño ha nacido felizmente» . 158 2. M.A.D. La destrucción mutua asegurada . 164 3. El peligro rojo y la propaganda anticomunista esta- dounidense . 168 8 4. El «complejo militar-industrial», los límites de la disuasión nuclear y la respuesta flexible . 172 5. La amenaza nuclear en el cine: Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb 178 6. Epílogo. 188 Ficha técnica . 190 My Family (Mi familia) Mario P. Díaz Barrado . 191 1. Primera parte: contexto social y creativo del film My Family . 194 2. Segunda parte: impresión técnica y estructura cine- matográfica . 208 Ficha técnica . 222 Lars von Trier y Bailar en la oscuridad: ¿lo hemos visto todo ya en el cine? Iratxe Fresneda . 223 1. Introducción . 224 2. Estados Unidos imaginado por alguien que jamás estuvo allí . 225 3. Las claves del «antimusical» de Lars von Trier: hi- perrealismo, una heroína trágica, y nada de finales felices . 226 4. El «cuasi-género» de la pena de muerte . 235 5. ¿Qué debe ser el cine? Emoción . 237 Ficha técnica . 239 Estados Unidos: un recorrido por su historia a través del cine de ficción Coro Rubio Pobes . 241 1. La etapa colonial, la Guerra de Independencia y el nacimiento de los Estados Unidos de América . 242 2. La Guerra de Secesión . 244 3. La conquista del Oeste . 246 4. La religión americana . 248 5. Inmigración . 249 9 6. Las fiebres del oro y el petróleo, el mundo laboral y las grandes fortunas . 251 7. Los años de la Depresión . 254 8. El gansterismo . 255 9. El sistema político . 258 10. La cultura de masas americana (jazz, béisbol, cine) 261 11. Racismo y minorías . 263 12. La participación de Estados Unidos en la I Guerra Mundial . 266 13. La participación de Estados Unidos en la II Guerra Mundial . 267 14. La Guerra Fría . 269 15. Posguerra fría . 274 10 PRESENTACIÓN. EL IMAGINARIO ESTADOUNIDENSE A TRAVÉS DEL CINE Coro Rubio Pobes Departamento de Historia Contemporánea. Universidad del País Vasco/Euskal Herriko Unibertsitatea «Una historia filmada, lo mismo que una historia pin- tada o escrita, constituye un acto de interpretación» afirma Peter Burke. «Yuxtaponer El nacimiento de una nación, di- rigida por D.W. Griffith (1875-1948) a Lo que el viento se llevó (1939), por ejemplo, supone contemplar la Guerra Ci- vil Americana y el consiguiente Período de Reconstrucción de dos maneras bastante diferentes, aunque las dos pelícu- las presentan los hechos desde el punto de vista de los sure- ños blancos». Es decir, como advierte Burke, una película de cine, y no solo el cine propiamente histórico, es siem- pre el resultado de una lectura determinada de los aconteci- mientos que se quieren narrar, condicionada por una pers- pectiva específica. Una lectura doble en realidad dado que «los acontecimientos históricos no llegan al espectador sino después de pasar un doble filtro, literario y cinematográ- fico» pues toda película es fruto de una empresa colectiva, en la que participan directores, guionistas, intérpretes, ase- sores, y además, en la mayoría de los casos, existe por de- trás una novela original1. Y en ese acto de interpretación 1 Peter BURKE: Visto y no visto. El uso de la imagen como documento histórico, Barcelona, Crítica, 2001, págs. 201-202. 11 que constituye una narración fílmica, incluso, en una fase previa, en la propia elección del tema que quiere ser na- rrado, subyace y aflora una determinada cultura —el punto de vista que menciona Burke—, y a través de ella un ima- ginario colectivo —además de individual— específico. Es expresión de todo ello. Pero además, el cine tiene otra dimensión; en la medida en que la narración fílmica está creada con el objetivo primordial de ser visualizada por un amplio número de personas, ejerce un eficaz papel de trans- misor de códigos culturales, de instrumento informal de so- cialización de los mismos, y de conformación de la memo- ria colectiva. Es por consiguiente desde la consideración de esta doble dimensión desde la que nos vamos a acercar al cine con la mirada del historiador y a utilizarlo como un útil instrumento para estudiar los códigos culturales de una sociedad, en este caso la estadounidense, que exige, eso sí, ser previamente decodificado. Precisamente es lo que se propone hacer este libro. Se recogen en él las ponencias de las jornadas XI y XII de La Historia a través del cine dedicadas a Estados Unidos que, dirigidas por Santiago de Pablo y organizadas por el Instituto de Historia Social Valentín de Foronda, tuvieron lugar en octubre de 2008 y octubre de 2009 en la Facul- tad de Letras de la Universidad del País Vasco, reuniendo a un nutrido grupo de especialistas procedentes de dis- tintas universidades (Complutense de Madrid, Universi- dad de Valencia, Universidad de Valladolid, Universidad de Extremadura y Universidad del País Vasco) y de dife- rentes ámbitos académicos (la Historia, el Arte, el Dere- cho, la Comunicación Audiovisual). A través de la selec- ción y estudio de las ocho películas que dieron soporte a aquellas jornadas, entre ellas algunos de los mejores fil- mes de la historia del cine norteamericano, se exploraron diversos aspectos del imaginario colectivo estadounidense y se confrontaron con su realidad social. Aspectos tales 12 como el referente identitario de la igualdad, pilar funda- mental del Credo americano, cuestionado durante mucho tiempo por la sistemática negación del ejercicio de sus de- rechos de ciudadanía a la población afroamericana en no pocos lugares de Estados Unidos; aspectos como el valor del individuo frente a la masa, expresión y a la vez garan- tía de la idea de libertad sobre la que los Padres Fundado- res edificaron la república; o como el valor otorgado a su sistema político, la democracia americana, en tanto que sagrado legado que todo ciudadano tiene la responsabili- dad de mantener vivo y proteger frente a la amenaza de la corrupción; o la fuerza de los valores conservadores de la cultura blanca anglosajona y de los temores nativistas, ex- presión de los cuales fueron los años de la Prohibición; la idea de la superioridad de la civilización americana, mere- cedora de singular protección frente a cualquier enemigo interior y exterior, concepción que en tiempos de la Guerra Fría desató la caza de brujas y justificó el desarrollo de la industria armamentística; o el American Dream, la idea e imagen de América como tierra de las oportunidades, país de acogida en el que cualquier persona puede labrar su for- tuna y llegar a lo más alto independientemente de su ori- gen, color o condición, y de la que es contraimagen la dura realidad social de muchos inmigrantes. La primera de estas ocho películas, analizada por el profesor de Historia de América de la Universidad del País Vasco Óscar Álvarez, es Tiempos de gloria (Glory, 1989) de Edward Zwick, una reivindicación del papel de la co- munidad negra en la edificación de la república estado- unidense, de su compromiso en la defensa de los valores de libertad, igualdad y justicia sobre los que se fundó ésta, pero a la vez una denuncia sobre el racismo de la sociedad norteamericana. A través de la muy bien ambientada histo- ria del 54.º Regimiento de Massachussets, el primer regi- miento de los conocidos como Buffalo Soldiers que se crea- 13 ron en la Guerra de Secesión integrados exclusivamente por soldados negros —aunque con oficiales blancos—, el filme critica el racismo que imperaba también entre los abolicio- nistas del Norte, combatiendo así el arraigado mito que lo asimila exclusivamente al Sur en la extendida lectura mani- quea que sobre la guerra civil ha contribuido también a di- fundir el cine clásico de Hollywood.
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