Open AccessDeshonra (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.