Publication: Estereotipos e identidad andaluces en el cine español. Caso de estudio: el cine andaluz
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2018-05-25
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Universidad Complutense de Madrid
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Abstract
El punto de partida de esta investigación es que la identidad andaluza ha sido construida culturalmente en función a unos relatos y estereotipos que se han retroalimentado desde lo cultural a lo social. Por lo que se plantea en esta investigación es cómo en producto cultural concreto como el cine, que su vez es un medio de masas, se han constituido unos estereotipos preexistentes en otros medios culturales como la literatura. En concreto nos centramos en la cinematografía española para rastrear la configuración de estos estereotipos que se han consolidado como una imagen hegemónica de lo español en un tiempo concreto, la primera mitad del siglo XX, siendo esta constituida en términos coloniales. Así mismo, desde los estudios culturales se proponen que las representaciones sociales pueden ser revocadas, reformuladas o incluso rechazadas a través de otros productos culturales. Es por ello que la hipótesis de partida que se plantea es que la representación de lo andaluz dentro de la cinematografía española de tipo costumbrista es el resultado de una serie de convencionalismos dentro de los productos culturales que cristalizan en unos personajes y ambientes estereotípicos que son reformulados a través de los relatos planteados en la industria autonómica a partir del año 1975. Por lo tanto este trabajo queda estructurado en dos partes, una primera de tipo teórico en la que se fundamenta el enfoque dado al estudio, así como otros principios gnoseológicos necesarios para discernir los relatos y estereotipos que se han dado en diversos discursos culturales hasta llegar al cinematográfico. En ella se recogen en primera instancia las disciplinas que han fundamentado su objeto de estudio en el estereotipo, así como las representaciones sociales. Esto nos sirve como enfoque a todo el trabajo de investigación...
The starting point of this research is that the Andalusian identity has been culturally constructed based on stories and stereotypes that have been fed back from the cultural to the social. What is raised in this research is how, in a specific cultural product such as film, which is itself a mass medium, preexisting stereotypes have been constituted in other cultural media such as literature. In particular we focus on Spanish cinematography to trace the configuration of these stereotypes that have been consolidated as a hegemonic image of the Spanishness in a specific time, the first half of the twentieth century, being constituted in colonial terms. Likewise, from cultural studies it is proposed that social representations can be revoked, reformulated or even rejected through other cultural products. It is for this reason that main hypothesis that arises is that the representation of the Andalusian within the Spanish cinematography is the result of a series of conventions within the cultural products that crystallize in some characters and stereotypical environments that are reformulated through the stories raised in the autonomic industry from 1975. Therefore, this work is structured in two parts, a first of a theoretical type on which the study approach is based, as well as other gnoseological principles necessary to discern the stories and stereotypes that have been given in various cultural discourses until reaching the film. It contains, for first instance, the disciplines that have based its object of study on the stereotype, as well as social representations. This serves as an approach to all the research work...
The starting point of this research is that the Andalusian identity has been culturally constructed based on stories and stereotypes that have been fed back from the cultural to the social. What is raised in this research is how, in a specific cultural product such as film, which is itself a mass medium, preexisting stereotypes have been constituted in other cultural media such as literature. In particular we focus on Spanish cinematography to trace the configuration of these stereotypes that have been consolidated as a hegemonic image of the Spanishness in a specific time, the first half of the twentieth century, being constituted in colonial terms. Likewise, from cultural studies it is proposed that social representations can be revoked, reformulated or even rejected through other cultural products. It is for this reason that main hypothesis that arises is that the representation of the Andalusian within the Spanish cinematography is the result of a series of conventions within the cultural products that crystallize in some characters and stereotypical environments that are reformulated through the stories raised in the autonomic industry from 1975. Therefore, this work is structured in two parts, a first of a theoretical type on which the study approach is based, as well as other gnoseological principles necessary to discern the stories and stereotypes that have been given in various cultural discourses until reaching the film. It contains, for first instance, the disciplines that have based its object of study on the stereotype, as well as social representations. This serves as an approach to all the research work...
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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 19-12-2017