[ca] Aquesta tesi doctoral analitza el corrent cinematogràfic de la Nuberu Bagu partint de la premissa que les seves característiques permeten considerar-lo un component integrant de la ideologia de la Nova Esquerra japonesa, pertanyent ambdós fenòmens a la denominada "època de la política" (seiji no kisetsu) (1966-1971). El nucli de la metodologia de "l'anàlisi ideològica" aquí aplicada és la lectura de les pel·lícules com a textos els elements interns dels quals serveixen als interessos externs de determinats grups sociopolítics en una relació de poder significativa amb altres grups sociopolítics. En el cas que ens ocupa, això implica fonamentalment descodificar les línies de continuïtat que connecten el cinema de la Nuberu Bagu amb altres components ideològics de la Nova Esquerra japonesa, així com amb la ideologia d'aquest grup sociopolític en el seu conjunt, oposada principalment a la Vella Esquerra japonesa. Selecciono una mostra de dues pel·lícules paradigmàtiques a través de les quals discernir una sèrie d'elements característics de la Nuberu Bagu que permetin configurar un model per abordar-la com una part integrant de la ideologia de la Nova Esquerra japonesa, podent aquest model servir per a estudis posteriors. Es tracta d'Eros + Massacre (Erosu purasu Guakusatsu, 1969), de Yoshida Kiju, i Tira els llibres, surt al carrer (Sho o suteyo machi e deyo, 1971), de Terayama Shuji. Són pel·lícules estrenades en moments històrics amb implicacions significativament diferents i filmades per directors amb sensibilitats divergents, però precisament aquestes discontinuïtats faciliten la demostració que ambdues obres contenen un nucli de característiques estable que permeten establir un model unitari (sota el nom de Nuberu Bagu), pertanyent a una ideologia unitària (sota el nom de Nova Esquerra). L'anàlisi de la Nuberu Bagu duta a terme en aquest estudi consta de tres fases. En la primera fase, en primer lloc presento l'enfocament metodològic de "l'anàlisi ideològica" del cinema en contraposició al del cinema nacional; a través d'aquesta contraposició, s'entendrà millor la conveniència de "l'anàlisi ideològica" a l'hora d'abordar el cinema. En segon lloc, abordo el context de les relacions de poder del Japó de l'època en què sorgí la Nuberu Bagu, exposo les característiques generals de la ideologia de la Nova Esquerra japonesa, i a continuació analitzo Eros + Massacre decodificant les connexions entre el text de la pel·lícula i aquesta ideologia en el seu conjunt (de la que forma part com a component doctrinal). En la segona fase investigo la relació entre el cinema de la Nuberu Bagu, continuant amb el cas il·lustratiu d'Eros + Massacre, i la consciència col·lectiva imperant en la Nova Esquerra japonesa de la importància de la subjectivitat humana (shutaisei) concebuda com a autonegació del subjecte (jiko hitei) (i que constitueix un component subjectiu d'aquesta ideologia). Per a això, em centro en dos aspectes clau del cinema de Yoshida Kiju a través dels quals desplega la seva visió de la subjectivitat com a autonegació: l'espai i la memòria. En la tercera fase, relaciono analíticament la teoria política d'un dels pensadors més importants en la confrontació de la Nova Esquerra japonesa, Yoshimoto Takaaki, i la concepció del cinema de Terayama Shuji, a través del cas il·lustratiu de la seva pel·lícula Tira els llibres, surt al carrer. En aquesta fase em fixo en com Yoshimoto a través de la teoria política i Terayama a través de la pràctica del cinema, expressen una visió similar de la relació entre la figura de l'intel·lectual i les masses, podent aquestes expressions

[en] This Ph.D. dissertation analyses the Nūberu Bāgu film trend based on the premise that its characteristics allow it to be considered an integral component of the Japanese New Left ideology, with both phenomena belonging to what is known as the "season of politics" (seiji no kisetsu) (1966-1971). From this approach, the understanding of a certain type of cinema is a way to gain a better insight into the ideology to which it belongs, just as the understanding of an ideology as a whole is a way to gain a better insight into the elements comprising it, cinema among them. On the methodological level, first I propose my own definition of the concept of "ideology" starting with some of the approaches by Plamenatz (1979), Eagleton (1991), Žižek (1994) and Kellner (1995). Based on this definition, I formulate a methodology for the "ideological analysis" of cinema starting with some of the conceptions by Thompson (1984, 1990), Zavarzadeh (1991) and Kellner (1993; 1995). The core of this methodology is a reading of films as texts whose internal elements serve the external interests of certain socio-political groups in a significant power relationship with other socio-political groups. In the case at hand, this means fundamentally decoding the continuous lines connecting the Nūberu Bāgu cinema with other ideological components of the Japanese New Left, as well as with this socio-political group's ideology as a whole, opposed mainly to the Japanese Old Left. In order to conduct an "ideological analysis" of the Nūberu Bāgu, I select a sample of two paradigmatic films through which a set of characteristic elements of this film trend can be distinguished, which enables to configure a model to address this cinematographic phenomenon as an integral part of the Japanese New Left ideology; a model that can be used for future research. These films are Eros + Massacre (Erosu purasu Guakusatsu, 1969), by Yoshida Kijū, and Throw Away Your Books, Rally in the Streets (Sho o suteyo machi e deyō, 1971), by Terayama Shūji. The films were released at historical moments with significantly different implications, and filmed by directors with divergent sensitivities, but it is precisely these discontinuities that enable us to establish a coherent model (under the name of Nūberu Bāgu), belonging to a coherent ideology (under the name of New Left). The "ideological analysis" of the Nūberu Bāgu conducted in this dissertation is made up of three stages. In the first stage, I present the methodological approach for the "ideological analysis" of cinema as opposed to that of national cinema; by means of this contraposition, the convenience of "ideological analysis" when addressing cinema will be grasped. Secondly, I address the context of power relationships in Japan at the time when the Nūberu Bāgu emerged, and then I analyse Eros + Massacre by decoding the connections between the film text and this ideology as a whole (to which the film belongs as a doctrinal component). In the second stage, I investigate the relationship between the Nūberu Bāgu cinema, still using the illustrative case of Eros + Massacre, and the prevailing collective consciousness in the Japanese New Left of the importance of human subjectivity (shutaisei) conceived as the subject's self-negation (jiko hitei) (and which is a subjective component of this ideology). To do so, I focus on two key aspects of Yoshida Kijū's cinema through which he displays his view of subjectivity as self-negation: space and memory. In the third stage, I analytically relate the political theory of one of the most important thinkers in the shaping of the Japanese New Left, Yoshimoto Takaaki, and Terayama Shūji's conception of cinema, through the illustrative case of his film Throw Away Your Books, Rally in the Streets. In this stage I focus on the way Yoshimoto, through his political theory, and Terayama, through his film practice, express a similar view of the relationship between the figure of the intellectual and the masses, taking into account that these expressions can be considered as part of the same doctrinal body of the same ideology: the Japanese New Left. Finally, I add an appendix in which I present the preliminary research that led to the approach of this Ph.D. dissertation. I have included it in this compendium as a reference for a general perspective of the starting point of the Nūberu Bāgu as a reaction to the humanist cinema hegemony in Japan until the end of the 1950s. The introductory understanding of the confrontation between both kinds of cinema enables us to gain a better understanding of the conflict between the New Left and the Old Left prevailing in the ideological dimension of the post-war Japanese society. This Ph.D. dissertation affords a better comprehension of the Nūberu Bāgu and the Japanese New Left ideology to which it belongs, and of their interrelationship. In the first place, the stages of the "ideological analysis" enable us to better understand the cinema, the political theory and the subjective consciousness that make up the Japanese New Left, by means of the analysis of their interrelationships and their relationship with this ideology as a whole. Secondly, these stages dialectically refine our understanding of the Japanese New Left ideology as a whole through the analysis of its indissoluble relationship with some of the components comprising it, and of the interrelationships between these components. Thirdly and on a more abstract level, they constitute, through the proposed approach to the relationship between the Nūberu Bāgu and the Japanese New Left, my critical rethinking of the very notion of ideology.