[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.

[es] Esta tesis doctoral analiza la corriente cinematográfica de la Nuberu Bagu partiendo de la premisa de que sus características permiten considerarla un componente integrante de la ideología de la Nueva Izquierda japonesa, perteneciendo ambos fenómenos a la denominada "época de la política" (seiji no kisetsu) (1966-1971). El núcleo de la metodología del "análisis ideológico" aquí empleada es la lectura de las películas como textos cuyos elementos internos sirven a los intereses externos de determinados grupos sociopolíticos en una relación de poder significativa con otros grupos sociopolíticos. En el caso que nos ocupa, esto implica fundamentalmente decodificar las líneas de continuidad que conectan el cine de la Nuberu Bagu con otros componentes ideológicos de la Nueva Izquierda japonesa, así como con la ideología de dicho grupo sociopolítico en su conjunto, opuesta principalmente a la Vieja Izquierda japonesa. Selecciono una muestra de dos películas paradigmáticas a través de las cuales discernir una serie de elementos característicos de la Nuberu Bagu que permitan configurar un modelo para abordarla como una parte integrante de la ideología de la Nueva Izquierda japonesa, pudiendo este modelo servir para estudios posteriores. Se trata de Eros + Masacre (Erosu purasu Guakusatsu, 1969), de Yoshida Kiju, y Tira los libros, sal a la calle (Sho o suteyo machi e deyo, 1971), de Terayama Shuji. Son películas estrenadas en momentos históricos con implicaciones significativamente distintas y filmadas por directores con sensibilidades divergentes, pero precisamente estas discontinuidades facilitan la demostración de que ambas obras contienen un núcleo de características estable que permiten establecer un modelo unitario (bajo el nombre de Nuberu Bagu), perteneciente a una ideología unitaria (bajo el nombre de Nueva Izquierda). El análisis de la Nuberu Bagu llevado a cabo en este estudio consta de tres fases. En la primera fase, en primer lugar presento el enfoque metodológico del "análisis ideológico" del cine en contraposición al del cine nacional; a través de esta contraposición, se entenderá mejor la conveniencia del "análisis ideológico" a la hora de abordar el cine. En segundo lugar, abordo el contexto de las relaciones de poder del Japón de la época en que surgió la Naberu Bagu, expongo las características generales de la ideología de la Nueva Izquierda japonesa, y a continuación analizo Eros + Masacre decodificando las conexiones entre el texto de la película y esta ideología en su conjunto (de la que forma parte como componente doctrinal). En la segunda fase investigo la relación entre el cine de la Nuberu Bagu, continuando con el caso ilustrativo de Eros + Masacre, y la conciencia colectiva imperante en la Nueva Izquierda japonesa de la importancia de la subjetividad humana (shutaisei) concebida como autonegación del sujeto (jiko hitei) (y que constituye un componente subjetivo de esta ideología). Para ello, me centro en dos aspectos clave del cine de Yoshida Kiju a través de los cuales despliega su visión de la subjetividad como autonegación: el espacio y la memoria. En la tercera fase, relaciono analíticamente la teoría política de uno de los pensadores más importantes en la conformación de la Nueva Izquierda japonesa, Yoshimoto Takaaki, y la concepción del cine de Terayama Shuji, a través del caso ilustrativo de su película Tira los libros, sal a la calle. En esta fase me fijo en cómo Yoshimoto a través de la teoría política y Terayama a través de la práctica del cine, expresan una visión similar de la relación entre la figura del intelectual y las masas, pudiendo estas expresiones ser consideradas parte del mismo cuerpo doctrinal de una misma ideología: la de la Nueva Izquierda japonesa.