Publication: Arte y literatura en el cinesta José Luis Borau. Hacia una estética total
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2017-04-25
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Universidad Complutense de Madrid
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Abstract
Con esta tesis exploramos una perspectiva diferente de la figura artística e intelectual del cineasta José Luis Borau. Apoyándonos en los principales estudios que se han realizado sobre su faceta cinematográfica, pero también en sus propios textos literarios, en sus artículos y ensayos sobre Arte y Lenguaje, en los testimonios ofrecidos por algunos de sus colegas y colaboradores, queremos establecer que la obra más conocida del cineasta aragonés, que son sus películas, guarda una estricta coherencia con su visión estética de la creación en general. Una visión que tiene evidentes conexiones con la generación cultural a la que pertenece, y también interesantes y personales divergencias. La obra de José Luis Borau se ha entendido hasta ahora mayoritariamente como la de un cineasta con un inusual bagaje cultural, que le llevó esporádicamente a interesarse por aspectos del mundo del Arte, y tardíamente por ciertas formas de la Literatura. Pero en ambos terrenos manifestó siempre un rigor que no nos permiten el seguir estudiando su cine sin considerar en paralelo sus otras facetas creativas, ni entender éstas como simples pasatiempos, sino como expresiones de una estética global. Esta afirmación puede hacerse considerando tres hechos: sus escritos periodísticos sobre arquitectura y arte, que ofrecen un interés por el funcionalismo que luego podemos rastrear en su cine; el que todos sus estudiosos señalen siempre su transparencia narrativa en el cine pero no han reparado en su voluntad plástica, más que cinética; y el que Borau pertenezca a una generación de intelectuales que consideraron el cine y la literatura como medios de expresión intercambiables. Su concepto de Modernidad no lleva aparejadas las constantes típicas, sino que basa su innovación en un formalismo de naturaleza aplicada, que plantea que la herencia del neorrealismo no tiene que ver con una cuestión de contenidos (mensajes), sino de reformulación esencial (primitivista) del lenguaje cinematográfico. La mayoría de estos conceptos apuntan hacia un realismo, pero no de signo modal, sino ontológico. Su concepto del Realismo enlaza con el criterio decimonónico de la novelística francesa, por la que el instrumento principal de la narración no era la documentación y el realema, precisos para la puesta en escena, sino la Forma. Esta perspectiva le hace enfrentarse a la labor de escritura del guion como obras con una base literaria, pero sin autosuficiencia; obras que narran imágenes, en una suerte de esbozo de posibilidades expresivas. Existen testimonios y datos biográficos suficientes para comprender que la mayoría de los escritores españoles de su generación entendían el cine y la literatura como vehículos intercambiables para el desarrollo de sus ideas y de su poética. En sus mejores ensayos estudia de qué manera el creador literario ya no puede escribir sin pensar en imágenes fílmicas...
This thesis explores the artistic and intellectual figure of José Luis Borau, the Aragonese filmmaker, using a different perspective. We have been studied not only the main researches about his films, but also his own articles and essays about Art and Language, and even his colleagues’ testimonies. In our work we want to state that José Luis Borau’s films keep a strict coherence with his Aesthetic view of creation. His personal view has obvious links with his cultural generation, but it has also very interesting and personal differences. Till today José Luis Borau has been considered a filmmaker with an unusual cultural background, occasionally interested in Art, and belatedly in Literature. In both areas he always showed a rigor that does not allow us to study his films without including his other creative works. They can not be understood as mere hobby, but as expressions of a global Aesthetic. This statement is based in three facts: first, his journalistic writings about Architecture and Art (his interest in Functionalism leaves a trace on his films); second, scholars always point at the narrative transparency in his movies, but they have not noticed his more artistic than kinetic intention; and finally, Borau belongs to a generation of intellectuals who saw Cinema and Literature as interchangeable means of expression. His concept of Modernity is not typical. His innovative idea is that the legacy of Neo-realism has nothing to do with the content (messages), but with an essential reformulation (primitive) of film language. Most of these concepts point to an ontological Realism. His idea of Realism is linked to the nineteenth-century French novel approach. According to that, José Luis Borau faces script writing as a literary work, but without self-sufficiency. These are works that narrate images in a sort of outline of expressive possibilities. Testimonies and biographical data are enough evidence to prove that most Spanish writers of his generation understood cinema and literature as vehicles for the development of their ideas and their poetry. In his essays, José Luis Borau explains how the creative writer can not write without thinking about film images...
This thesis explores the artistic and intellectual figure of José Luis Borau, the Aragonese filmmaker, using a different perspective. We have been studied not only the main researches about his films, but also his own articles and essays about Art and Language, and even his colleagues’ testimonies. In our work we want to state that José Luis Borau’s films keep a strict coherence with his Aesthetic view of creation. His personal view has obvious links with his cultural generation, but it has also very interesting and personal differences. Till today José Luis Borau has been considered a filmmaker with an unusual cultural background, occasionally interested in Art, and belatedly in Literature. In both areas he always showed a rigor that does not allow us to study his films without including his other creative works. They can not be understood as mere hobby, but as expressions of a global Aesthetic. This statement is based in three facts: first, his journalistic writings about Architecture and Art (his interest in Functionalism leaves a trace on his films); second, scholars always point at the narrative transparency in his movies, but they have not noticed his more artistic than kinetic intention; and finally, Borau belongs to a generation of intellectuals who saw Cinema and Literature as interchangeable means of expression. His concept of Modernity is not typical. His innovative idea is that the legacy of Neo-realism has nothing to do with the content (messages), but with an essential reformulation (primitive) of film language. Most of these concepts point to an ontological Realism. His idea of Realism is linked to the nineteenth-century French novel approach. According to that, José Luis Borau faces script writing as a literary work, but without self-sufficiency. These are works that narrate images in a sort of outline of expressive possibilities. Testimonies and biographical data are enough evidence to prove that most Spanish writers of his generation understood cinema and literature as vehicles for the development of their ideas and their poetry. In his essays, José Luis Borau explains how the creative writer can not write without thinking about film images...
Description
Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, leída el 01/02/2016