Bailar la muerte hacia una historiografía audiovisual del framenco en el franquismo
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Document Type
Document Version
Author
Director
Benavente, Fran
Tutor
Other authors
Publication Date
Pages
157 p.
Embargo date
2026-02-23T01:00:00Z
Citation
Parés Velasco, L. Bailar la muerte hacia una historiografía audiovisual del framenco en el franquismo. Universitat Pompeu Fabra; 2024. handle: http://hdl.handle.net/10803/691422
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Citation
Doctoral program
Programa de Doctorat en Comunicació
Abstract
Esta tesis trata de estudiar la representación visual del flamenco en el cine español durante el franquismo. El flamenco, tan presente en el imaginario con que lo español se presenta y se constituye, ha sido sin embargo, retratado de muchas formas distintas, mostrando una variedad de sentidos, muchas veces contradictorios. Para tal análisis, se parte de la premisa de que el cine español ha de estudiarse incluyendo en el corpus de películas españolas algunas obras realizadas por cineastas españoles en el exilio, que a pesar de su distinta nacionalidad económica, comparten sin embargo la misma tradición cultural. Se ha decidido para ello una investigación aplicada que pudiese acercarse de un modo más empírico a la noción de pervivencia que Aby Warburg acuñó para su Atlas Mnemosyne, esta vez aplicada a los modos y las formas de una parte del cine español mal conocida. Por ello, pervivencia, transnacionalidad y hauntología son las tres bases teóricas sobre las que se sustenta esta investigación. El resultado final de la investigación se propone dividido en dos, por una parte un ensayo fílmico de ochenta minutos, realizado con imágenes de archivo de películas, en las que se muestra las analogías y las divergencias de la representación del flamenco a un lado y otro del exilio, y una investigación teórica (indisolublemente unida al ensayo fílmico) donde se muestran las reflexiones teóricas e historiográficas que me llevaron a decidir la forma y la temática del ensayo fílmico. Esta doble propuesta, que se retroalimenta, me ha permitido no sólo analizar el alcance del flamenco como sintagma identitario, tan instrumentalizado política y artísticamente, sino también investigar sobre nuevos formatos y modelos de investigación sobre la historia del cine.
This thesis attempts to study the visual representation of flamenco in Spanish cinema during the Franco regime. Flamenco, so present in the imaginary with which the Spanishness is presented and constituted, has nevertheless been portrayed in many different ways, showing a variety of meanings, often contradictory. For this analysis, we start from the premise that Spanish cinema has to be studied by including in the corpus of Spanish films some works made by Spanish filmmakers in exile, who despite their different economic nationality, nevertheless share the same cultural tradition. For this purpose, we have decided to carry out an applied research that could approach in a more empirical way the notion of survival that Aby Warburg coined for his Atlas Mnemosyne, this time applied to the modes and forms of a poorly known part of Spanish cinema. Therefore, survival, transnationality and hauntology are the three theoretical bases on which this research is based. The final result of the research is proposed divided in two, on the one hand a film essay of eighty minutes, made with archival images of films, which shows the analogies and divergences in the representation of flamenco on both sides of the exile, and a theoretical research (inextricably linked to the film essay) where the theoretical and historiographical reflections that led me to decide the form and theme of the film essay are shown. This double proposal, which feeds back on each other, has allowed me not only to analyze the scope of flamenco as an identity syntagma, so instrumentalized politically and artistically, but also to investigate new formats and models of research on the history of cinema.
This thesis attempts to study the visual representation of flamenco in Spanish cinema during the Franco regime. Flamenco, so present in the imaginary with which the Spanishness is presented and constituted, has nevertheless been portrayed in many different ways, showing a variety of meanings, often contradictory. For this analysis, we start from the premise that Spanish cinema has to be studied by including in the corpus of Spanish films some works made by Spanish filmmakers in exile, who despite their different economic nationality, nevertheless share the same cultural tradition. For this purpose, we have decided to carry out an applied research that could approach in a more empirical way the notion of survival that Aby Warburg coined for his Atlas Mnemosyne, this time applied to the modes and forms of a poorly known part of Spanish cinema. Therefore, survival, transnationality and hauntology are the three theoretical bases on which this research is based. The final result of the research is proposed divided in two, on the one hand a film essay of eighty minutes, made with archival images of films, which shows the analogies and divergences in the representation of flamenco on both sides of the exile, and a theoretical research (inextricably linked to the film essay) where the theoretical and historiographical reflections that led me to decide the form and theme of the film essay are shown. This double proposal, which feeds back on each other, has allowed me not only to analyze the scope of flamenco as an identity syntagma, so instrumentalized politically and artistically, but also to investigate new formats and models of research on the history of cinema.
Keywords
Cine, Exilio, Flamenco, Folklore, Pervivencia, Hauntología, Cine –ensayo, Fantasmas, Cinema, Exile, Survival, Hauntology, Film-essay, Ghosts
Subjects
32 - Politics
39 - Ethnology. Ethnography. Folklore
77
39 - Ethnology. Ethnography. Folklore
77
Publisher
Universitat Pompeu Fabra
