Publication: La masculinidad en John Ford: héroes contra hombres
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2017-04-07
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Universidad Complutense de Madrid
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Abstract
John Ford alcanzó una posición crítica sin igual en los últimos años del siglo pasado. La desaparición de las consideraciones ideológicas y coyunturales que enturbiaron su consideración desde la posguerra, y el descubrimiento de títulos de los años postreros de su carrera contribuyeron a dicho prestigio imbatible. Para la segunda década del actual siglo, la producción académica centrada en su obra y persona se ha incrementado de modo asombroso. Pero un repaso a las fechas de nacimiento de los autores y autoras de la comentada producción académica nos dice que para los cinéfilos más jóvenes, la presencia de su figura ha quedado tan desdibujada como la de cualquier otro creador clásico. Urge pues mantener la actualidad de su personal, amplia y profunda obra. El actual trabajo de investigación gira en torno al grado de superposición, en la obra de Ford, que encontramos entre dos conceptos que la narrativa tradicional tiende a hacer coincidir: masculinidad y heroicidad. Así, nuestro objeto a investigar es doble; por un lado, la visión sobre la masculinidad proyectada en la obra “fordiana”; por otro, qué atributos adornan a los héroes presentados por el director. Incidimos en el doble objeto al actuar bajo la creencia de que Ford no se ciñe inevitablemente a la asociación entre ambas ideas. Para ello, exploraremos un campo más amplio. Primero, contextualizando dicha concepción de la masculinidad en la visión que sobre la sexualidad y la identidad genérica nos ofrece John Ford. Posteriormente, desentrañando el vínculo entre la figura masculina y la figura del héroe, al entender que, el destilado definitivo de la mayor parte de los modelos de masculinidad positiva que conocemos suele materializarse en el héroe (reconocemos la existencia de una masculinidad negativa, monstruosa), así como que las marcas masculinas del héroe “fordiano” son diversas y, con frecuencia, sorprendentes...
John Ford reached a critical position unsurpassed in the ending years of last century. The disappearance of ideological and contextual considerations that marred him after the Second World War and the discovery of titles linked to the last years of his career contributed to his prestige. For the second decade of this century, the academic output focused on his works and his personality has increased enormously. Nevertheless, a review of the dates of birth of authors commenting on his works tells us that for the youngest moviegoers, he has lost much of his fascination. Therefore, today, additional effort is required to maintain a living memory of his works. This research focuses on the degree of overlapping in the works of Ford of two concepts that traditional narrative tends to link: masculinity and heroism. So the object under investigation is twofold; on one hand, the vision of masculinity projected in Fordian works; on the other hand, the attributes of the heroes presented by the director. We believe that Ford does not inevitably adhere to the association between both concepts. To check this, we will explore a wider field. First, we will contextualize such conception of masculinity in the vision of sexuality and gender identity that John Ford offers to us. Subsequently, we will unravel the link between the male figure and the hero to understand that the final distillate of most of the positive models of masculinity often materializes as the hero (while recognizing the existence of a negative, monstrous masculinity) and also that the male characteristics of the Fordian hero are diverse and often surprising...
John Ford reached a critical position unsurpassed in the ending years of last century. The disappearance of ideological and contextual considerations that marred him after the Second World War and the discovery of titles linked to the last years of his career contributed to his prestige. For the second decade of this century, the academic output focused on his works and his personality has increased enormously. Nevertheless, a review of the dates of birth of authors commenting on his works tells us that for the youngest moviegoers, he has lost much of his fascination. Therefore, today, additional effort is required to maintain a living memory of his works. This research focuses on the degree of overlapping in the works of Ford of two concepts that traditional narrative tends to link: masculinity and heroism. So the object under investigation is twofold; on one hand, the vision of masculinity projected in Fordian works; on the other hand, the attributes of the heroes presented by the director. We believe that Ford does not inevitably adhere to the association between both concepts. To check this, we will explore a wider field. First, we will contextualize such conception of masculinity in the vision of sexuality and gender identity that John Ford offers to us. Subsequently, we will unravel the link between the male figure and the hero to understand that the final distillate of most of the positive models of masculinity often materializes as the hero (while recognizing the existence of a negative, monstrous masculinity) and also that the male characteristics of the Fordian hero are diverse and often surprising...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, Departamento de Comunicación Audiovisual y Publicidad II, leída el 18/01/2016