Publication: Países de ficción en Europa: etiología y arquetipos
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2017-03-02
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Universidad Complutense de Madrid
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Abstract
Ruritania, Sylvania, Marshovia y Freedonia son países de ficción, que sin embargo “existen” para el espectador de cine. Si le pidieran que los situase en un eje espacio-temporal, sin duda los ubicaría en la Europa central y del este, y desde luego en un periodo cronológico entre finales del siglo XIX y –como muy tarde- primera mitad del siglo XX. Pensaría, de manera consciente, o tal vez intuitiva, en la Europa de los Habsburgo anterior a la I Guerra Mundial, y en las naciones que surgieron con el nuevo orden determinado tras la II Guerra Mundial. Un estereotipo de país en el marco de la cultura centroeuropea acuñado por la imaginación anglosajona. Ese ha sido el vehículo para proyectar la imagen que, de manera fascinada, contemplaban artistas británicos e irlandeses, y que transmitieron al resto del mundo mediante la literatura, principalmente, hasta el primer tercio del siglo XX, en el que una nueva forma artística, el cine, tomó el relevo a los libros y se elaboraron guiones de películas que, de nuevo, reflejaban con nostalgia a unos países con aire decimonónico, pre-industrial, y marcadamente folklórico. Películas que se detienen en la imagen decadente, y de alta cultura a la vez, de la “Mitteleuropa” de Sisi y Francisco José de Habsburgo. Una época que se corresponde con el “pensamiento artístico polifónico”, al que se refería Stefan Zweig al evocar a Viena, la capital de ese imperio: “una ciudad, maravillosamenta orquestada. La batuta seguía en manos de la casa imperial (…) era el centro de la supranacionalidad”, al frente de una estela de países de nacionalidades diversas, en definitiva, de ciudadanos del mundo. Esta era la visión cosmopolita que Zweig -cuyo libro El mundo de ayer inspiró al director de El gran Hotel Budapest- compartía con el escritor galitziano Joseph Roth...
Ruritania, Sylvania, Marshovia and Freedonia are names of fictitious countries, which nevertheless ‘exist’ for the audience of cinema. If someone asks you to put them along a space-time axis, without a doubt you will place them in Central and Eastern Europe and of course, along a chronological period between the end of the 19th century and –as the latest- the first half of the 20th century. You will imagine consciously or non-consciously, or maybe intuitively, the Europe of the Habsburgs before the First World War and also the nations that appeared because of the new order after the Second World War. It’s a stereotype of a country in the framework of the Central Europe Culture, coined by Anglo-Saxon imagination. That has been the vehicle for spreading the image that was in the fascinated minds of British and Irish artists, and who conveyed to the rest of the World by means of literature mainly until the first third of the 20th century, when a new artistic way, the cinema, replaced books and transformed them into scripts of films that showed one more time countries with a nineteenth-century, pre-industrial and very popular air in a nostalgic way. These films keep not only the image of decadence and elevated culture but also the one of the Mittel Europe of Sisi and Franz Joseph of Habsburg. An epoch that correspond to the ‘polyphonic and artistic thinking’ that Stefan Zweig meant when he recalled Wien, the capital of that empire as ‘a marvellously harmonized city. The imperial house still called the tune (…) it was supranational centre’ leading several countries, different nationalities, and people of the World. That was the cosmopolitan vision that Zweig – whose book The World of Yesterday inspired the director of the film The Grand Budapest Hotel- shared with the well-known writer Joseph Roth...
Ruritania, Sylvania, Marshovia and Freedonia are names of fictitious countries, which nevertheless ‘exist’ for the audience of cinema. If someone asks you to put them along a space-time axis, without a doubt you will place them in Central and Eastern Europe and of course, along a chronological period between the end of the 19th century and –as the latest- the first half of the 20th century. You will imagine consciously or non-consciously, or maybe intuitively, the Europe of the Habsburgs before the First World War and also the nations that appeared because of the new order after the Second World War. It’s a stereotype of a country in the framework of the Central Europe Culture, coined by Anglo-Saxon imagination. That has been the vehicle for spreading the image that was in the fascinated minds of British and Irish artists, and who conveyed to the rest of the World by means of literature mainly until the first third of the 20th century, when a new artistic way, the cinema, replaced books and transformed them into scripts of films that showed one more time countries with a nineteenth-century, pre-industrial and very popular air in a nostalgic way. These films keep not only the image of decadence and elevated culture but also the one of the Mittel Europe of Sisi and Franz Joseph of Habsburg. An epoch that correspond to the ‘polyphonic and artistic thinking’ that Stefan Zweig meant when he recalled Wien, the capital of that empire as ‘a marvellously harmonized city. The imperial house still called the tune (…) it was supranational centre’ leading several countries, different nationalities, and people of the World. That was the cosmopolitan vision that Zweig – whose book The World of Yesterday inspired the director of the film The Grand Budapest Hotel- shared with the well-known writer Joseph Roth...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, Departamento de Comunicación Audiovisual y Publicidad, leída el 20/01/2016