Search results for "Cinematografia i història"
showing 10 items of 40 documents
NO-DO, icono del franquismo
2005
En conclusión, los lugares de memoria que el NO-DO resalta del franquismo figuran como símbolos, repetitivos, estáticos, ceremoniales y aportan un testimonio fértil sobre la capacidad ritual del régimen. En ellos se realizan ceremonias militares, culto a los muertos, misas, aclamaciones al Jefe del Estado ... Pero a pesar de su vocación de estatismo y liturgia, el tiempo va imponiendo imperceptibles cambios que, junto a los anacronismos, revelan la depauperación simbólica del régimen y su denodada búsqueda de una mitología nueva, que halló en el turismo una imagen donde fijarse, acorde con los tiempos del desarrollismo, y la cual, como casi todo en el franquismo, se superpone a la antigua c…
Sierra de Teruel: el compromiso, el texto
1985
Podríamos, pues, definir, en conclusión, la película de Malraux-Aub como la construcción textual de un sujeto de la enunciación -popular, militante y de clase- colectivo. En esa empresa, que comparte con algunos títulos clásicos del cine soviético, alcanza Sierra de Teruel sus mejores logros.
Políticas de la memoria : la guerra civil española en el cine y el reportaje televisivo
2005
Following the recent appearance of films and television documentaries that delve into the subject of the Spanish Civil War, this article examines the status that audiovisual documentaries are acquiring as shapers of collective memory. In addition, it points out the risks and perversions of a massaudience audiovisual production that sets out to convey oral testimony as a source of veracity and visual documentary as an emotional catalyst. At a time such as the present, when so many channels of information are available (internet, television, radio, press, cinema, etc.) the role of the media in formulating the image of the past is in danger of becoming a crystallizing mechanism for the imagery…
Deep Emotions, Poor Narratives: on the Iconography of the Retreat (La Retirada)
2011
The Spanish Civil War and the subsequent border crossing of the Republican population towards France in February 1939 generated a profusion of images of which only a few have become recognizable icons that represent the injustice performed by Franco's victorious army. However, most of these images have circulated without any historical context, thus becoming abstraction rather than historical realities. This article discusses the way the corpus of visual -mostly through film- representations of exile have been used and abused, how they have been 'migrating' from one media to another, and hence how they have changed their semantic value and have been use to support different ideological mess…
Imágenes, iconos, migraciones, con fondo de guerra civil
2008
The Spanish Civil War broke out within a complex of political factors, military progress and the mass media. Spain was highlighted in the news worldwide, and international coverage of the war spurred on new forms of reporting, often indistinguishable from propaganda. Advances in photography, illustration-filled magazines and newspapers, and the use of cinemas for disseminating information would mark a new era for journalism. It was in this context that images of the war were circulated around the globe and played a part in establishing what would eventually become permanent genres in war journalism. These artefacts from the Spanish Civil War constitute a rich and fundamental source of cultu…
¡Qué descansada vida! La imagen de Franco entre el ocio y la intimidad
2002
There were two complementary aspects to Franco¿s image: the idea of soldier become head of State, and traditional, anti-modern, even backwards, political reactionary. This strongly clashed with what was happening in other European fascist states. The development of these ideals was symptomatic of the overall evolution of Franco¿s image as gentle, goodnatured civilian and family man. This image gradually took hold as Franco gained political stability and was getting on in years. The article analyzes various instances of this more humane image of Franco through official State news documentaries called NO-DO, where we see Franco at home, surrounded by his
Sombras de guerra: las imágenes cinematográficas de la Shoah
2009
'Para saber, hay que imaginar[ ... ]. No invoquemos, pues, lo inimaginable'. Con este sutil, pero contundente, juego terminológico y conceptual entre imagen e imaginación abría Georges Didi-Huberman su audaz y polémico ensayo sobre el tópico de lo irrepresentable de ese infierno en la tierra que fue Auschwitz. Pocos acontecimientos han dado a la luz más literatura, testimonios, fotos o cine post facto como este símbolo que se empecina paradójicamente en sostener su carácter inefable, inimaginable, impensable desde los primeros tiempos. En efecto, desde una interpretación restrictiva del interdicto adorniano ('No es posible escribir poesía después de Auschwitz') que Enzo Traverso interpretó …
Propaganda y mitografía en el cine de la guerra civil española (1936-1939)
2007
La guerra civil española puso en marcha la maquinaria de propaganda más audaz conocida hasta ese momento. Fue decisiva la tensión dramática de los totalitarismos entre sí y del nazismo y fascismo respecto a las democracias occidentales, mas también influyó el estado de desarrollo de los medios de comunicación y representación (revistas ilustradas, nuevas técnicas fotográficas, circulación de imágenes en movimiento a través de los noticiarios¿). El presente artículo fija su atención en dos aspectos principales: en primer lugar, el papel de que la cinematografía nacional e internacional sobre la guerra civil desempeñó en fijar algunos géneros y motivos de la representación de la guerra en Occ…
Imágenes marcadas a fuego. Representación y memoria de la Shoah
2001
Tomando como objeto de análise o documentário Shoah, este artigo estabelece relações entre imagem, representações, história e memória.This article analyses the documentary Shoah, dealing with the relations between images/representation and history/memory.
The cinematic image of Jose Antonio Primo de Rivera: somewhere between a leader and a saint
2009
The Franco regime carefully cultivated the image of José Antonio Primo de Rivera in a way which differed significantly from the approach adopted by other European dictatorships. Whereas other countries used the media, specifically cinema, to highlight the charisma of their current leader, the Franco regime concentrated on building up a posthumous image of Primo de Rivera as a fallen hero. For decades to come, Spaniards would be subjected to a funerary cult. There were clearly some advantages to this tactic of diverting attention away from the actual leader, not least for Franco himself. The persona reconstructed around Primo de Rivera underwent a morbid transformation from politician to pro…