Política y cine policíaco de la Transición española

El cine de temática policíaca de la Transición española ha recibido escasa atención por parte de los estudiosos del medio, pese a su valor intrínseco de documento histórico-sociológico. El cine quinqui refleja diversas vertientes político-ideológicas del momento en la plasmación de la problemática de la delincuencia juvenil, nacida de las contradicciones sociales del momento, el desempleo masivo, y las deficiencias estructurales del urbanismo obrero del franquismo. Asimismo, de acuerdo con la densa politización de aquel momento histórico, germinan las corrientes —otrora inviables por imposiciones censoriales— del thriller policíaco-político y de la revisión histórica de una Historia poco antes mixtificada por el régimen franquista. Igualmente, de otro lado, surge un cine defensivo propio del franquismo sociológico reacio a los cambios políticos y sociales. De este modo, el cine policíaco del momento confluye con una atmósfera general politizada, en que las diversas contradicciones antaño reprimidas y condenadas a una ocultación subterránea emergen a la superficie. Tanto por su vocación popular y verosímil realista inherentes como por la temática tratada, el cine policíaco español de la Transición puede y debe considerarse un valioso documento y fiel reflejo de la sociedad de la época.

Politics and the Police-Themed Cinema of the Spanish Transition

The police-themed cinema of the Spanish Transition has received little attention from scholars of the medium, despite its intrinsic value as historic sociological record. The Quinqui genre of Spanish cinema reflects various aspects of the political ideology of the time in its framing of the problem of juvenile delinquency, born of the social contradictions of the time, mass unemployment, and the structural deficiencies of working-class urbanism under Francoism. Given the dense politicization of the historical moment, trends which had previously been unviable due to the imposition of state censorship emerged, including the political police thriller and the historical review of a history that had been altered shortly before by the Franco regime. Likewise, on the other hand, a defensive cinema arose from Franco’s supporters in society, who were opposed to political and social changes. Thus, the police genre of the time converged with a generally politicized atmosphere, in which the various contradictions once repressed and condemned to hiding underground came to the surface. Both because of its inherently popular spirit and plausibility, as well as the subject matter addressed, the Spanish police cinema of the Transition can and should be considered a valuable record and faithful reflection of the society of the time.