{"id":8597,"date":"2014-01-24T02:00:00","date_gmt":"2014-01-24T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2014\/01\/24\/el-cinema-de-propaganda-nazi\/"},"modified":"2014-01-24T02:00:00","modified_gmt":"2014-01-24T02:00:00","slug":"el-cinema-de-propaganda-nazi","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/el-cinema-de-propaganda-nazi\/","title":{"rendered":"El cinema de propaganda nazi: alerta amb la ironia"},"content":{"rendered":"

\"judzus.png\"
\nA l’hora de tractar certs assumptes la ironia no \u00e9s una bona companya. I no tant perqu\u00e8 no s\u00e0piga estar del nostre costat, no ens entengui o no s\u00e0piga secundar-nos a l’hora d’especular i entendre les coses. Els problemes que sorgeixen per l’\u00fas de la ironia estan fortament associats a una q\u00fcesti\u00f3 que moltes vegades se’ns escapa: la recepci\u00f3 del discurs per part dels altres. En la seva c\u00e0rrega conscient de certa ambig\u00fcitat, la ironia est\u00e0 a favor d’una transmissi\u00f3 no clausurada del sentit que pot excloure aquesta mateixa ironia com un recurs admissible.<\/p>\n

Pel que sembla, va ser la ironia un dels diversos motius pels quals Hannah Arendt va ser criticada, censurada i rebutjada quan va llan\u00e7ar sobre el m\u00f3n el concepte de la “banalitat del mal” en aquell text que donaria lloc al seu llibre \u201cEichmann a Jerusalem\u201d. Si, com va dir Adorno, “escriure poesia despr\u00e9s d’Auschwitz \u00e9s un acte de barb\u00e0rie”, escriure en les immediacions de l’Holocaust sobre el responsable directe del mateix, servint-se de la ironia, va suposar un exercici extremadament auda\u00e7. Fins i tot per a alg\u00fa com Hannah Arendt.<\/p>\n

La pesada digesti\u00f3 d’aquelles q\u00fcestions que han conformat l’arquitectura del nazisme segueix apareixent a dia d’avui. I \u00e9s que setanta anys potser no s\u00f3n suficients per perdre la por als mecanismes d’un sistema ideol\u00f2gic que va practicar a consci\u00e8ncia el costat fosc d’una ra\u00f3 d’her\u00e8ncia il\u00b7lustrada. Serveixi a tall d\u2019exemple el recentment clausurat cicle de la Filmoteca de Catalunya “El cinema de propaganda nazi”, on es van projectar algunes de les pel\u00b7l\u00edcules que van ser utilitzades com a eines de difusi\u00f3 dels valors nazis. Uns valors que, com demostren moltes d’ aquestes pel\u00b7l\u00edcules, es constru\u00efen des d’un antagonisme que dedicava m\u00e9s esfor\u00e7 a difamar a l’altre (el jueu, el comunista, l’angl\u00e8s) que a enaltir la pr\u00f2pia identitat nacionalsocialista.<\/p>\n

En paral\u00b7lel es van projectar una s\u00e8rie de documentals sobre el cinema de propaganda del per\u00edode nazi, sota aquest imperatiu moral de contextualitzaci\u00f3 cr\u00edtica que afecta tot all\u00f2 relacionat amb el material cultural produ\u00eft pel nazisme i per al nazisme. Entre ells, Werkstattbericht “NS-Propagandafilm heute”, de Felix Moeller, un film que recull el debat obert al voltant de l’alliberament d’unes pel\u00b7l\u00edcules d’acc\u00e9s restringit per la seva expl\u00edcita c\u00e0rrega ideol\u00f2gica i al seu impl\u00edcit potencial antisemita i racista.<\/p>\n

M\u00e9s enll\u00e0 d’avalar la lliure circulaci\u00f3 de qualsevol tipus de material pel simple fet de subratllar un dret que s’instaura des d’una condici\u00f3 general, hi ha caracter\u00edstiques una mica m\u00e9s espec\u00edfiques a l’hora de pensar una circulaci\u00f3 del cinema nazi exempta d’introduccions hist\u00f2riques o circuits restringits. En primer lloc, el mateix ep\u00edgraf hist\u00f2ric dins del qual s’emmarquen transporta un escut t\u00e0cit per part de la majoria d’espectadors. La censura universal i hist\u00f2rica cap a la ideologia promoguda pel nazisme seria suficient per desactivar el potencial o la vig\u00e8ncia actuals del seu cinema propagand\u00edstic. Si b\u00e9 no pot negar-se el vigor de la ideologia a trav\u00e9s de grups neonazis, \u00e9s considerablement dubt\u00f3s que aquests necessitin d’una producci\u00f3 f\u00edlmica d’est\u00e8tica anacr\u00f2nica -un altre motiu que disminueix el seu poder tenint en compte el llenguatge visual dels nostres dies-. A aix\u00f2 li podr\u00edem afegir que aquest material f\u00edlmic circula des de fa temps per Internet, m\u00e9s o menys accessible per a tot aquell que s\u00e0piga o vulgui buscar amb afany.<\/p>\n

Caldria recalcar tamb\u00e9 que les pel\u00b7l\u00edcules nazis formaven part d’un aparell ideol\u00f2gic hol\u00edstic i que no existien amb independ\u00e8ncia d\u2019aquest. I que no \u00e9s el mateix veure-les avui dia que quan, a la sortida del cinema, la propaganda nazi existia pr\u00e8via i posteriorment a les successives projeccions, disseminada per tot arreu a trav\u00e9s d’una imposici\u00f3 agressiva dels seus continguts i principis. \u00c9s m\u00e9s, pensant en el cinema produ\u00eft sota el mandat de Hitler com a un document hist\u00f2ric que ajuda a comprendre la repercussi\u00f3, l’absorci\u00f3 i la magnitud del nacionalsocialisme, es fa gaireb\u00e9 indispensable el visionat d’aquest material. L’evid\u00e8ncia de la seva instrumentalitzaci\u00f3 del cinema pot ajudar-nos no nom\u00e9s a comprendre la producci\u00f3 i l’abast ideol\u00f2gics del nazisme, sin\u00f3 a posicionar qualsevol producte cinematogr\u00e0fic -i per extensi\u00f3, cultural- dins d’una ideologia i una “missi\u00f3” concreta, per subtil que aquesta sigui.<\/p>\n

Tornant a aquella ironia que comentava, em permetria aleshores un seri\u00f3s al\u00b7legat en contra de tot aquell cinema (per exemple, la Nouvelle Vague) que circula lliurement, que promou i que genera la imatge d’una dona vista a trav\u00e9s dels ulls d’un home que la prefereix no tant rossa sin\u00f3 silenciosa, fr\u00e0gil i inexcusablement atractiva. O que, quan parla, ho fa des d’una actitud hist\u00e8rica, superficial i irracional. O contra un cinema que, reprenent Hannah Arendt segons Margaret von Trotta, trivialitza a una dels grans pensadors del segle XX en recrear-se en aquesta condici\u00f3 de dona arrogant marcada per un amor impossible. I \u00e9s que no totes les manifestacions ideol\u00f2giques arriben a nosaltres amb un dispositiu cr\u00edtic i de protecci\u00f3 igual d’eficient que aquell que reapareix quan llegim “cinema de propaganda nazi”.<\/p>\n","protected":false},"excerpt":{"rendered":"

A l’hora de tractar certs assumptes la ironia no \u00e9s una bona companya. I no tant perqu\u00e8 no s\u00e0piga estar del nostre costat, no ens entengui o no s\u00e0piga secundar-nos…<\/p>\n","protected":false},"author":1273,"featured_media":8576,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6782],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\nEl cinema de propaganda nazi: alerta amb la ironia – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/ca\/magazine\/el-cinema-de-propaganda-nazi\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"El cinema de propaganda nazi: alerta amb la ironia – A*Desk\" \/>\n<meta property=\"og:description\" content=\"A l’hora de tractar certs assumptes la ironia no \u00e9s una bona companya. 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