Race, gender and disavowal in Spanish cinema of the early Franco period: The missionary film and the folkloric musical

Screen

Volumn 38, Issue 3, 1997, Pages 215-231

  Labanyi, Jo ^a  

^a NONE

Author keywords

[No Author keywords available]

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EID: 63849247307     PISSN: 00369543     EISSN: None     Source Type: Journal    
DOI: 10.1093/screen/38.3.215     Document Type: Article

References (28)

1. Mary Louise Pratt, Imperial Eyes: Travel Writing and Transculturation (London and New York: Routledge, 1992), pp. 6, 10
2. For Franco's career in Spanish Morocco, see Paul Preston, Franco (London: Harper Collins, 1993), chs 1 and 2. Preston quotes Franco as saying, 'Without Africa, I can scarcely explain myself to myself' (p. 16)
3. For Francoist protectionist film legislation, see José Enrique Monterde, in Román Gubern et al. (eds), Historia del cine español (Madrid: Cátedra, 1995), pp. 195-203
4. For film censorship, see Román Gubem, La censura: función política y ordenamiento jurídico bajo el franquismo 1936-1975 (Barcelona: Península, 1981)
5. and Helen Graham and Jo Labanyi (eds), Spanish Cultural Studies: an Introduction (Oxford: Oxford University Press, 1995), pp. 207-14
6. Richard Dyer, 'Entertainment and utopia', in Simon During (ed.), The Cultural Studies Reader (London and New York: Routledge, 1993), p. 278
7. Republican documentary production intensified during the Civil War, for propaganda purposes. See Ramón Sala Noguer, El cine en la España republicana durante la Guerra Civil (Bilbao: Ediciones Mensajero, 1993). It must be remembered that the Republic banned Buñuel's 1932 documentary Las Hurdes for its devastating view of rural deprivation
8. For Church investment in the Spanish film industry, see Carlos Heredero, Las huellas del tiempo: cine español 1951-1961 (Valencia: Filmoteca de la Generalitat Valenciana/Filmoteca Española, 1993), pp. 54-8
9. See Homi K. Bhabha, The Location of Culture (London and New York: Routledge, 1994), pp. 66-84
10. For empire as surveillance, see Thomas Richards, The Imperial Archive: Knowledge and the Fantasy of Empire (London and New York: Verso, 1993)
11. Pratt, Imperial Eyes, p. 7
12. For an analysis of the Spanish fascist emphasis on the incorporation of the female native other via miscegenation, see my article 'Women, Asian hordes and the threat to the self in Ernesto Giménez Caballero's Genio de España', Bulletin of Hispanic Studies, no. 73 (1996), pp. 378-87. Spanish fascist rhetoric was always closer to that of Mussolini than to that of Hitler
13. Timothy Mitchell, in his excellent book Flamenco Deep Song (London and New Haven: Yale University Press, 1994), demolishes the myth of flamenco's 'pure' 'racial' origins in gypsy culture, stressing its syncretic function as 'underclass bricolage': that is, the cultural expression of an ethnic group constituted by social rather than racial features, including, but not limited to, gypsies
14. See Bhabha, The Location of Culture, pp. 85-92
15. See Wilton Martinez, 'Who constructs anthropological knowledge? Toward a theory of ethnographic film spectatorship', in Peter Ian Crawford and David Turton (eds), Film as Ethnography (Manchester and New York: Manchester University Press, 1992), pp. 131-61
16. See Marcia Landy, Film, Politics, and Gramsci (Minneapolis: University of Minnesota Press, 1994), pp. 154-84
17. The links between ethnographic film and neorealism are noted by David MacDougall in Leslie Devereaux and Roger Hillman (eds), Fields of Vision: Essays in Film Studies, Visual Anthropology and Photography (Berkeley, Los Angeles and London: University of California Press, 1995), pp. 233, 248
18. Both Imperio Argentina and the star of Perojo's musicals, Estrellita Castro, were given private audiences by Hitler; Estrellita Castro was also received by Mussolini. See Daniel Pineda Novo, Las folklóricas y el cine (Huelva: Festival de Cine Iberoamericano, 1991), pp. 52, 65-6
19. Terenci Moix, Suspiros de España (Barcelona: Plaza & Janés, 1993), p. 74
20. See Mitchell, Flamenco Deep Song
21. Robert Stam, Subversive Pleasures: Bakhtin, Cultural Criticism, and Film (Baltimore and London: The Johns Hopkins University Press, 1989), pp. 92-3
22. Based on Pemán's play Las Cortes de Cádiz. Pemán wrote some of the dialogue for Lucia's 1949 La duquesa de Benamejf, based on the verse drama by Antonio and Manuel Machado, and coauthored the synopsis for Brindis a Manolete (Florián Rey, 1948)
23. He also coauthored the screenplay for a biopic of St Ignatius of Loyola, El capitán de Loyola (José Díaz Morales, 1948)
24. See Bruce Babington and Peter William Evans, Blue Skies and Silver Linings: Aspects of the Hollywood Musical (Manchester: Manchester University Press, 1985), pp. 5, 56, 162, 169
25. Dyer, 'Entertainment and utopia', p. 279
26. See Moix, Suspiros de España, p. 198
27. In Devereaux and Hillman (eds), Fields of Vision, pp. 161-80
28. Michael Rogin, Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot (Berkeley, Los Angeles and London: University of California Press, 1996), chs 1-3 in particular. Male gypsies in the folklórica correspond to the blackface representation of male African-Americans as workshy and recalcitrant in the face of the capitalist work ethic. However, blackface is largely male centred while the folklórica is massively woman centred