Disabled masculinity as a metaphor of national conflict in the cold war eraOrson welles’ The Lady from Shanghai (1947).

  1. Leonor Acosta Bustamante 1
  1. 1 Universidad de Cádiz.
Revista:
Revista de Estudios Norteamericanos

ISSN: 1133-309X,  2253-8410

Año de publicación: 2019

Número: 23

Páginas: 1-22

Tipo: Artículo

DOI: 10.12795/REN.2019.I23.01 DIALNET GOOGLE SCHOLAR lock_openAcceso abierto editor

Otras publicaciones en: Revista de Estudios Norteamericanos

Resumen

Como resistencia a la censura y al optimismo típico de la era de posguerra, el cine negro emergió poseyendo algunas particularidades específicas que lo transformaron en un fenómeno contracultural en la década de los cuarenta en Estados Unidos. Las posibilidades que ofrecían estas películas llamaron la atención de Orson Welles por el despliegue de dramas sexuales como metáforas de las inquietudes de la sociedad de su tiempo. Welles aborda la renovación del canon establecido por el cine negro en su película La dama de Shanghai (1947), con la intención de explorar varias masculinidades deficientes que giran en torno al poder totémico de la mujer fatal. El análisis de estas masculinidades apunta al contexto históricocultural de la Guerra Fría, una era caracterizada por el miedo y la paranoia, con efectos sobre la masculinidad llegando a la descomposición de cualquier postura heroica y la pérdida de toda fe patriótica.

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Fuente de los datos: Dialnet