Sombras desoladas. Costumbrismo, humor, melancolía y reflexividad en el cine español de los años cuarenta
A close and unprejudiced historiographical and textual analysis of the cinema of the 1940s demonstrates the survival, despite everything, of varied (often rich, always conditioned) filmic formulations able to maintain a common underground current that constitutes its authentic genetic material and that assures the recognition of its public and the link with a homogeneous cultural tradition. But even, from those popular materials, transformed by the extremely difficult historical circumstances, are generated in the forties rough and rugged stylizations –for example that so peculiar and striking reflexivity, clearly linked to the central figure of the writer Wenceslao Fernández Flórez– that make the Modes of Representation of post-war Spanish cinema (from Edgar Neville to Serrano de Osma, from the Mihura brothers to Llobet-Gràcia) the filmic humus on which to (re)think, beyond the undeniable and vast influence of foreign cinematographies of the weight of classic Hollywood cinema or Italian Neorealism, the densest and most singular Spanish film discourses of the following decades.
A post-war cinema, in short, despite the disqualifications of thick line with which continues to be dispatched on too many occasions, was able to offer operations of undeniable aesthetic height, showing in others the sharp edges resulting from the enormous difficulty to weave with sense threads of provenances absolutely heterogeneous (and even contradictory to each other) and emerging from such process curious hybrids or experiences radically failed, but in all cases extremely interesting in the eyes of the historian.