Publication: Representación de la sexualidad entre hombres en el cine español (1939-2010)
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2017-04-19
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Universidad Complutense de Madrid
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Abstract
Apoyándonos en un conjunto de conceptos y herramientas teóricas provenientes de diferentes disciplinas -principalmente la filología, la psicología, la historia de la sexualidad, la antropología y la sociología- hemos llevado a cabo un doble ciclo de investigación inductiva/deductiva con objeto de estudiar cómo el cine occidental y más específicamente el español ha representado la sexualidad entre hombres desde sus inicios hasta el presente. Hemos llevado a cabo nuestras indagaciones en tres frentes que estuvieron interconectados y enriqueciéndose mutuamente durante todo el proceso. En primer lugar hicimos una aproximación interdisciplinar al objeto de nuestro estudio, y a medida que avanzaba la investigación hemos podido concebir algunas aportaciones teóricas que esperamos sean de interés para otros estudiosos. Las más relevantes son: la teoría acerca del armario como una construcción social; la aplicación de la escala Kinsey al análisis de la conducta sexual de los personajes de los relatos cinematográficos; la propuesta de escalas multifactoriales sincrónicas y diacrónicas para dar cuenta de la conducta sexual del varón; el concepto de matriz sexista; la teoría acerca de los estereotipos; la propuesta de una tipología multifactorial para dar cuenta de la variedad de los hombres que tienen sexualidad con otros hombres; la llamada de atención que hemos hecho acerca de algunos defectos metodológicos frecuentes en la literatura sobre cine. En el segundo frente de investigación, el inductivo, lo que hicimos fue explorar la forma en que el cine americano y europeo de todas las épocas había representado la sexualidad entre hombres; analizamos para ello un corpus de más de mil doscientas películas y eso nos permitió inferir una taxonomía de modalidades de representación. Hemos considerado que para comprender la forma que tiene cada cinta de representar esta realidad es más adecuado proponer un conjunto o haz de modalidades que intentar asignar a cada película una sola modalidad. Hemos empleado para ello cinco criterios: la explicitud en la representación, la integración o peso que tienen los personajes homo o bisexuales en la trama, la intención del relato, la problematización y el erotismo. Hemos podido trazar el origen y evolución de cada una de estas modalidades en la historia del séptimo arte, y esto nos ha ayudado a contextualizar el cine español del que haríamos un análisis cuantitativo más minucioso. Por último nos ocupamos del cine español. Seleccionamos una muestra de cuatrocientas cuarenta y ocho largometrajes de 1939 a 2010, de los cuales ochenta y cuatro eran coproducciones, y procedimos a realizar un análisis en tres niveles: el de la película, el de los personajes, cuyo número ascendía a mil diecisiete, y el de las relaciones entre los personajes, que eran quinientas veintinueve. Elegimos las variables que tendríamos en cuenta para cada uno de estos tres niveles. Tras formular unas hipótesis nos concentramos en el estudio de cada una de las películas de la muestra con objeto de extraer la información necesaria e introducirla en una base de datos. Para terminar, procedimos a la fase deductiva propiamente dicha: cruzar los datos obtenidos por medio de un número amplio de consultas en la base de datos para comprobar si las hipótesis eran o no ciertas, y para llegar a las conclusiones pertinentes.
Relying on a set of concepts and theoretical tools from different disciplines (mainly philology, psychology, history of sexuality, anthropology and sociology) we have conducted here a double cycle of inductive and deductive research. The purpose of this investigation is to study in depth how Western cinema and more specifically Spanish cinema represented sex between men from its beginnings to the present moment. We have developed our research on three fronts that were interconnected and enriching each other throughout the the entire process. First of all we adopted an interdisciplinary approach to the object of our study, and as the investigation progressed we could devise some theoretical contributions that we hope will be of interest to other scholars. The most relevant are: the theory of the closet as a social construction; the application of the Kinsey scale for analysis of sexual behavior of characters in the film stories; the proposed multifactorial synchronous and diachronic scales to account for male sexual behavior; the concept of gender-based matrix; the theory about stereotypes; the proposal for a multifactorial typology to account for the variety of men who have sex with other men; the wakeup call we did about some common methodological flaws in the literature on film. In the second line of research, inductive, what we did was to explore how American and European films of all times had represented sex between men; we selected a corpus of over one hundred films and that allowed us to infer a taxonomy of modes of representation. We considered that if we want to understand the way each film represents this reality is more appropriate to propose a set of modalities than trying to assign to each film a single modality. We used five criteria to do so: the explicitness in the performance, integration or weight that the homo or bisexual characters get in the plot, the intention of the story, the problematization of homosexuality and eroticism eroticism in the representation of intimate moments. We were able to trace the origin and evolution of each of these modalities in the history of cinema, and this has helped us to contextualize the Spanish cinema we would do a more thorough quantitative analysis. Finally we deal with the Spanish cinema. We selected a sample of four hundred forty-eight films from 1939 to 2010, of whom eighty-four were co-productions with different countries, and proceeded to make an analysis on three levels: firstly the film, then the characters, whose number amounted to one thousand and seventeen, and finally the relationships between the characters, which were five hundred twenty-nine. We chose the variables that would account for each of these three levels. After formulating some hypothesis we concentrate on the study of each of the films of the sample in order to extract the necessary information and enter it into an open-office database. Finally, we proceeded to the actual deductive phase: we crossed the data obtained through a large number of queries in the database to check if the hypothesis were true or not, and to reach appropriate conclusions.
Relying on a set of concepts and theoretical tools from different disciplines (mainly philology, psychology, history of sexuality, anthropology and sociology) we have conducted here a double cycle of inductive and deductive research. The purpose of this investigation is to study in depth how Western cinema and more specifically Spanish cinema represented sex between men from its beginnings to the present moment. We have developed our research on three fronts that were interconnected and enriching each other throughout the the entire process. First of all we adopted an interdisciplinary approach to the object of our study, and as the investigation progressed we could devise some theoretical contributions that we hope will be of interest to other scholars. The most relevant are: the theory of the closet as a social construction; the application of the Kinsey scale for analysis of sexual behavior of characters in the film stories; the proposed multifactorial synchronous and diachronic scales to account for male sexual behavior; the concept of gender-based matrix; the theory about stereotypes; the proposal for a multifactorial typology to account for the variety of men who have sex with other men; the wakeup call we did about some common methodological flaws in the literature on film. In the second line of research, inductive, what we did was to explore how American and European films of all times had represented sex between men; we selected a corpus of over one hundred films and that allowed us to infer a taxonomy of modes of representation. We considered that if we want to understand the way each film represents this reality is more appropriate to propose a set of modalities than trying to assign to each film a single modality. We used five criteria to do so: the explicitness in the performance, integration or weight that the homo or bisexual characters get in the plot, the intention of the story, the problematization of homosexuality and eroticism eroticism in the representation of intimate moments. We were able to trace the origin and evolution of each of these modalities in the history of cinema, and this has helped us to contextualize the Spanish cinema we would do a more thorough quantitative analysis. Finally we deal with the Spanish cinema. We selected a sample of four hundred forty-eight films from 1939 to 2010, of whom eighty-four were co-productions with different countries, and proceeded to make an analysis on three levels: firstly the film, then the characters, whose number amounted to one thousand and seventeen, and finally the relationships between the characters, which were five hundred twenty-nine. We chose the variables that would account for each of these three levels. After formulating some hypothesis we concentrate on the study of each of the films of the sample in order to extract the necessary information and enter it into an open-office database. Finally, we proceeded to the actual deductive phase: we crossed the data obtained through a large number of queries in the database to check if the hypothesis were true or not, and to reach appropriate conclusions.
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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 08-01-2016