Deshonra (Daniel Tinayre, 1952) | Zendy

Pablo Rubio Gijón | Zendy

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Deshonra (Daniel Tinayre, 1952)

Author(s) -

Pablo Rubio Gijón

Publication year - 2017

Publication title -

acta hispanica

Language(s) - English

Resource type - Journals

eISSN - 2676-9719

pISSN - 1416-7263

DOI - 10.14232/actahisp.2017.22.113-120

Subject(s) - ideology , ambiguity , criticism , status quo , context (archaeology) , politics , sociology , state (computer science) , law , law and economics , political science , aesthetics , political economy , art , history , linguistics , philosophy , archaeology , algorithm , computer science

Within the context of the film industry of the first peronist period (1946-1955) crime films established themselves as a means to disseminate the dominant ideology. Some of the characteristics of this genre were used to leave proof of the pre-eminence of the State as a safeguard of the status quo. However, Deshonra (1952) resorts in its structure to visual features that could be interpreted as a veiled criticism to the very ideology it aims to divulge. The crime film genre, from its constitutive proposals and its supposed ideological rigidity in a political framework such as Peronism, may grant some areas of ambiguity.

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