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Francoist Spain, or the Francoist dictatorship, was the period of Spanish history between 1939 and 1975, when Francisco Franco ruled Spain after the Spanish Civil War with the title Caudillo. After his death in 1975, Spain transitioned into a democracy. During this time period, Spain was officially known as the Spanish State.
The assassination of Prime Minister Luis Carrero Blanco, also known by its code name Operación Ogro, had far-reaching consequences within the politics of Spain. Admiral Carrero Blanco was killed in Madrid by the Basque separatist group ETA on 20 December 1973. The assassination is considered to have been the biggest attack against the Francoist State since the end of the Spanish Civil War in 1939.
The Spanish transition to democracy, known in Spain as la Transición or la Transición española, is a period of modern Spanish history encompassing the regime change that moved from the Francoist dictatorship to the consolidation of a parliamentary system, in the form of constitutional monarchy under Juan Carlos I.
The art of motion-picture making within Spain or by Spanish filmmakers abroad is collectively known as Spanish Cinema.
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Ricardo Muñoz Suay was a Spanish film director, producer and screenwriter. He was one of the editors of the film magazine Objetivo which was published from 1953 to 1956. He was a member of the Communist Party.
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Censorship in Francoist Spain was mandated by Francisco Franco in Francoist Spain, between 1936-1975. In Francoist Spain, primary subjects of censorship included public display of liberal political ideology, art forms such as literature and film, as well as symbols of foreign, non-conservative ideologies. This censorship was primarily driven by Franco's vision for ideological unity in Spain. As a result, Franco called for the censorship of materials that promoted liberal ideas from abroad, particular those of European origin. Aside from censorship of foreign ideology, symbols of Spanish identity, such as Catalonia, also became primary targets of censorship. Under his authoritarian reign, censorship was imposed primarily through systemic political repression. The Francoist State repressed expression of liberal social and political ideology among the Spanish public.
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Filmic representations of women have developed in tandem with changing historical and socio-cultural influences. Italian neorealism was a movement that, through art and film, attempted to "[recover] the reality of Italy" for an Italian society that was disillusioned by the propaganda of fascism. Representations of women in this era were influenced heavily by the suffrage movement and changing socio-political awareness of gender rights. The tension of this transitional era created a spectrum of female representation in film, where female characters were written to acquiesce, or more commonly reject, the societal standards imposed on the women of the age. Italian neorealists, with their characteristic use of realism and thematic-driven narrative, used their medium to explore these established ideals of gender and produce a number of filmic representations of women.
Medina was a weekly women's magazine which was in circulation in the period 1941–1945 in Madrid, Spain. It was one of the publications of Sección Femenina, the women's branch of the Falange political party, which made public the messages of the institution during the much more radical era of the Francoist regime. Its subtitle was Seminario de la SF.
La Codorniz was a weekly satirical magazine which was published in Madrid, Spain, between 1941 and 1978. From its start to 1951 its subtitle was Revista de Humor. Then it was changed to La revista más audaz para el lector más inteligente. It is often cited as the most known Spanish satirical magazine in the Francoist Spain and transition period.
Gutiérrez was a Spanish weekly satirical magazine which was in circulation between 1927 and 1934 in Madrid, Spain. Its subtitle was semanario español de humorismo. It was among the most read satirical magazines in the country during its lifetime in addition to Buen Humor.
References
- 1 2 Nuria Triana-Toribio (2014). "Film Cultures in Spain's Transition: The "Other" Transition in the Film Magazine Nuevo Fotogramas (1968-1978)". Cultural Studies. 15 (4): 455–474. doi:10.1080/14636204.2014.991486. S2CID 142634911.
- 1 2 3 4 5 6 Marvin D'Lugo (1991). The Films of Carlos Saura: The Practice of Seeing . Princeton, NJ: Princeton University Press. p. 20. ISBN 0-691-00855-8.
- ↑ Fernando Ramos Arenas (2017). "Film Clubs and Film Cultural Policies in Spain and the GDR around 1960". Communication & Society. 30 (1). doi: 10.15581/003.30.1.1-15 .
- 1 2 3 Steven Marsh (2005). Popular Spanish Film Under Franco: Comedy and the Weakening of the State. Hampshire: Palgrave Macmillan. p. 207. ISBN 978-0-230-51187-3.
- 1 2 Ferran Alberich; Román Gubern; Vicente Sánchez-Biosca (2013). "Film Clubs, Festivals, Archives, and Magazines". In Jo Labanyi; Tatjana Pavlović (eds.). A Companion to Spanish Cinema. Chichester, West Sussex: Blackwell Publishing Ltd. pp. 441, 456. doi:10.1002/9781118322765. ISBN 9781405194389.
- 1 2 3 Barry Jordan (April 1991). "Culture and Opposition in Franco's Spain: The Reception of Italian Neo-Realist Cinema in the 1950s". European History Quarterly . 21 (2): 231–234. doi:10.1177/026569149102100203.
- 1 2 3 Virginia Higginbotham (2014). Spanish Film Under Franco. Austin, TX: University of Texas Press. p. 25. ISBN 978-0-292-76147-6.
- ↑ Rosanna Maule (2008). Beyond Auteurism: New Directions in Authorial Film Practices in France, Italy and Spain Since the 1980s. Bristol; Chicago: Intellect Books. p. 37. ISBN 978-1-84150-204-5.
- 1 2 Marvin D'Lugo (1997). Guide to the Cinema of Spain . Westport, CT; London: Greenwood Publishing Group. p. 147. ISBN 978-0-313-29474-7.