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Mercado negro (Kurt Land, 1953): cine policial, propaganda estatal y ambigüedad moral
Abstract
Este ensayo tiene como propósito analizar Mercado negro (Kurt Land, 1953), filme policial argentino que no solamente preconiza determinadas instituciones esta- tales como la Gendarmería Nacional y la Policía Federal, sino que también alude a las políticas sociales implementadas por el gobierno peronista. Estos mensajes, que invaden la trama argumental de la película, dejan constancia de las reformas y logros conseguidos o proyectados por los dos planes quinquenales de 1947-1951 y 1952- 1955. No obstante esto, mediante un ex- haustivo análisis es posible atisbar peque- ñas zonas de ambigüedad que el género policial, desde sus mismos planteamientos constitutivos y su supuesta rigidez ideológica en un contexto político como el pero- nista, puede llegar a conceder. Es decir, a pesar de poseer una función propagandística, Mercado negro podría también prestarse a una lectura desde la disconformidad ideológica por medio de la audacia que exhibe al presentar de un modo alternante el lado más humano del delincuente.
English title: Mercado negro (Kurt Land, 1953): Crime Cinema, State Propaganda and Moral Ambiguity
This essay aims to analyze Mercado negro (Kurt Land, 1953), an Argentine crime film that not only praises certain State institutions such as the Argentine National Gendarmerie and the Federal Police, but also alludes to the social policies implemented by the Peronist government. These messages invade the film’s plot in order to leave proof of the reforms and achievements obtained or projected by the two Peronist five-year plans of 1947-1951 and 1952-1955. However, by means of a thorough analysis it is possible to glimpse small areas of ambiguity that this genre, from its own fundamental approaches and alleged ideological rigidity in a political context such as Peronism, can allow. That is to say, in spite of its propagandistic func- tion, Mercado negro may lend itself to an interpretation from the ideological noncon- formity through the audacity it displays as it presents alternatively the criminal’s most humane side.
