IZGUBLjENO DETINjSTVO I SLOBODA U FILMOVIMA O ŠPANSKOM GRAĐANSKOM RAT

Lipar ◽  
2021 ◽  
Vol 22 (74) ◽  
pp. 215-230
Author(s):  
Irena Selakovic ◽  
Keyword(s):  
Civil War ◽  
Spanish Civil War ◽  
Growing Up ◽  
Spanish Cinema

The paper deals with the presentation of children’s lives and the consequences of the Spanish Civil War in the film achievements of Spanish cinema. The corpus material consists of the films The Language of Butterflies (La lengua de las mariposas) and Black Bread (Pan negro) in which children interpret the roles of the protagonists. Taking into account the consequences that almost every war brings with it, we want to examine the extent to which children in Spain were deprived of a normal childhood and freedom at that time. Based on the analyzed scenes, we will show the gradational change of children from innocent victims of war to brave fight- ers for their own ideals. A peaceful and happy childhood was replaced by growing up and maturing prematurely, and the consequences of the war remained present in the years after this horrific event.

Erotohistoriography, Temporal Drag and the Interstitial Spaces of Childhood in Spanish Cinema

2017 ◽  
Author(s):  
Sarah Wright
Keyword(s):  
Civil War ◽  
Queer Theory ◽  
Spanish Civil War ◽  
Traumatic Events ◽  
Spanish Cinema ◽  
Mother And Child ◽  
Child Figure

This chapter studies the child figure as ‘the conduit for the exploration of the trauma and loss of the Spanish Civil War and its aftermath of dictatorship in Spain’ in well-known films including El espíritu de la colmena/The Spirit of the Beehive (dir. Víctor Erice, 1973), Cría cuervos/Raise Ravens (dir. Carlos Saura, 1976), Secretos del corazón/Secrets of the Heart (dir. Montxo Armendáriz, 1997) and Pa negre/Black Bread (dir. Agustí Villalonga, 2010). In an analysis informed by queer theory, and in particular by Lee Edelman’s concept of reproductive futurism and Elizabeth Freeman’s erotohistoriography, the chapter focuses on sequences of intense intimacy (between mother and child, for example), transgressive kids’ games, and some traumatic events witnessed by children to explore the potential of the child figure as the key to queer the films’ version of history.

Spanish cinema on the Civil War: the aspect of national reconciliation

2021 ◽  
pp. 84
Author(s):  
Lidia Rostotskaya
Keyword(s):  
Civil War ◽  
Spanish Civil War ◽  
Spanish Cinema ◽  
National Reconciliation

The article deals with one of the aspects of the cinematic interpretation of the theme of Spanish Civil War. Among the various models of its implementation in the cinema, the most justified and promising options are those aimed at achieving national understanding and harmony. The validity of the existence of such a trend in Spanish cinema is illustrated by the analysis of several films focused on this task.

scholarly journals The Effects of Spanish Civil War on Spanish Cinema: Cinema under the Political Pressure of Two Eternal Enemies / Los efectos de la Guerra Civil Española en el cine español: cine bajo la presión política de dos eternos enemigos

2018 ◽  
Author(s):  
Gizem Kutukcu
Keyword(s):  
Civil War ◽  
Spanish Civil War ◽  
The Political ◽  
Power Struggle ◽  
Political Pressure ◽  
Spanish Cinema ◽  
Political Left ◽  
Political Right ◽  
Two Sides

Este artículo se centra en cómo se formó el cine español durante y después de la guerra civil española (1936-1939) por los dos bandos de la guerra: la izquierda y la derecha. En primer lugar, examina la lucha de poder entre dos bandos durante la guerra y su esfuerzo por hacer su propia propaganda. En segundo lugar trata de entender las nuevas reglas del cine bajo la dictadura de Franco. Luego discute los cambios de visión después de la muerte de Franco y por último, resume los efectos de la guerra civil en el cine español moderno de hoy. This article focuses on how the Spanish cinema was shaped during and after the Spanish Civil War (1936-1939) by the two sides of the war: the political left and the political right. Firstly it examines the power struggle between two sides during the war and their effort to make their own propaganda. Secondly it tries to understand the new rules of the cinema under the dictatorship of Franco. Then it discusses the changes of vision after the death of Franco and lastly summarizes the effects of the war on the modern Spanish cinema of today. 

scholarly journals Comedies with corpses but without weeping or mourning

2019 ◽  
Vol 7 (13) ◽  
pp. 24-38
Author(s):  
Luis E. Parés
Keyword(s):  
Civil War ◽  
Critical Load ◽  
Spanish Civil War ◽  
Spanish Cinema ◽  
History Of ◽  
Post War ◽  
The Way

The article questions the problematic figuration of the corpse in the history of Spanish cinema and particularly in the genre of comedy. Starting with a verification of the centrality of death and its representations in Spanish culture, the author inquires into the ways in which corpses are present in our cinema and how the approach to this motif explains a particular attitude in terms of history and encodes a critical eye or an escapist attitude on the part of filmmakers and films. After tracing a genealogy of its representations, taking the bodies of the fallen in the Spanish Civil War as the first important corpses, the text creates a symptomatic history of the different forms of corpse representation in Spanish post-war cinema, focusing on the way in which the figure is shifted towards the field of comedy and its evolution, going from an evasive, depoliticized approach towards the territory of darkness and critical penetration. The author also points to the relevance of corpse representation in the cinema of the Transition, and its disappearance when democracy was consolidated. Finally, the representation of the corpse is established as a significant tool for confirming the critical load of Spanish cinema in relation to its history and its present

Through the prism of Spain. Socio-economic causes of different outcomes of Russian and Spanish civil wars

2017 ◽  
pp. 142-155
Author(s):  
I. Rozinskiy ◽  
N. Rozinskaya
Keyword(s):  
Civil War ◽  
World War I ◽  
Civil Wars ◽  
Spanish Civil War ◽  
Statistical Data ◽  
Well Being ◽  
Russian Civil War ◽  
World War ◽  
Common Features ◽  
Economic Well Being

The article examines the socio-economic causes of the outcome of the Spanish Civil War (1936-1936), which, as opposed to the Russian Civil War, resulted in the victory of the “Whites”. Choice of Spain as the object of comparison with Russia is justified not only by similarity of civil wars occurred in the two countries in the XX century, but also by a large number of common features in their history. Based on statistical data on the changes in economic well-being of different strata of Spanish population during several decades before the civil war, the authors formulate the hypothesis according to which the increase of real incomes of Spaniards engaged in agriculture is “responsible” for their conservative political sympathies. As a result, contrary to the situation in Russia, where the peasantry did not support the Whites, in Spain the peasants’ position predetermined the outcome of the confrontation resulting in the victory of the Spanish analogue of the Whites. According to the authors, the possibility of stable increase of Spanish peasants’ incomes was caused by the nation’s non-involvement in World War I and also by more limited, compared to Russia and some other countries, spending on creation of heavy (primarily military-related) industry in Spain.

The Spanish Reception of Le Sacre du Printemps (1913–1936)

2018 ◽  
Vol 36 (1) ◽  
pp. 48-66
Author(s):  
Idoia Murga Castro
Keyword(s):  
Nineteenth Century ◽  
Civil War ◽  
Spanish Civil War ◽  
Original Work ◽  
Silver Age ◽  
Avant Garde ◽  
Ballets Russes ◽  
Rite Of Spring ◽  
Le Sacre Du Printemps ◽  
Cultural Expansion

Centenary celebrations are being held between 2016 and 2018 to mark the first consecutive tours of Diaghilev's Ballets Russes in Spain. This study analyses the Spanish reception of Le Sacre du Printemps (The Rite of Spring) (1913), one of its most avant-garde pieces. Although the original work was never performed in Spain as a complete ballet, its influence was felt deeply in the work of certain Spanish choreographers, composers, painters and intellectuals during the so-called Silver Age, the period of modernisation and cultural expansion which extended from the end of the nineteenth century to the beginning of the Spanish Civil War.

Kate O'Brien and Virginia Woolf: Common Ground

2018 ◽  
Vol 48 (1) ◽  
pp. 127-142
Author(s):  
Aintzane Legarreta Mentxaka
Keyword(s):  
Civil War ◽  
Virginia Woolf ◽  
Spanish Civil War ◽  
Common Ground ◽  
Point Of View ◽  
Political Alignments ◽  
Literary Influences ◽  
Kate O'brien

Convergences in the work of Kate O'Brien and Virginia Woolf range from literary influences and political alignments, to a shared approach to narrative point of view, structure, or conceptual use of words. Common ground includes existentialist preoccupations and tropes, a pacifism which did not hinder support for the left in the Spanish Civil War, the linking of feminism and decolonization, an affinity with anarchism, the identification of the normativity of fascism, and a determination to represent deviant sexualities and affects. Making evident the importance of the connection, O'Brien conceived and designed The Flower of May (1953), one of her most experimental and misunderstood novels, to paid homage to Woolf's oeuvre.

“The heart above the ruins”: Miriam Waddington’s Poetry, the Spanish Civil War, and Jewish Canadian Literature

1969 ◽  
Vol 26 ◽  
Author(s):  
Emily Robins Sharpe
Keyword(s):  
Human Rights ◽  
World War Ii ◽  
Civil War ◽  
Spanish Civil War ◽  
World War ◽  
Canadian Literature ◽  
The Earth ◽  
The Holocaust ◽  
The Subject ◽  
War Consequences

The Jewish Canadian writer Miriam Waddington returned repeatedly to the subject of the Spanish Civil War, searching for hope amid the ruins of Spanish democracy. The conflict, a prelude to World War II, inspired an outpouring of literature and volunteerism. My paper argues for Waddington’s unique poetic perspective, in which she represents the Holocaust as the Spanish Civil War’s outgrowth while highlighting the deeply personal repercussions of the war – consequences for women, for the earth, and for community. Waddington’s poetry connects women’s rights to human rights, Canadian peace to European war, and Jewish persecution to Spanish carnage.

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