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Additional resources for Historical Dictionary of Spanish Cinema (Historical Dictionaries of Literature and the Arts)

Example text

Joaquín Oristrell’s Los abajo firmantes (The Undersigned) is a manifestation of the political commitment of Spanish filmmakers. Hay motivo (There Is xxx • CHRONOLOGY a Cause), a compilation of shorts directed, among others, by Fernando Colomo, David Trueba, Icíar Bollaín, Imanol Uribe, Julio Medem, Vicente Aranda, Chus Gutiérrez, and Pedro Olea, also deals with the hopelessness of artists in the face of reactionism. Los lunes al sol (Mondays in the Sun, Fernando León de Aranoa), an example of the kind of social cinema traditionally preferred by Spanish critics, is awarded five Goyas.

Only Argentina, at the time run by General Juan Perón, offered support. Excluded from the United Nations and from the Marshall Plan, Spain could not benefit from the reconstruction support enjoyed even by countries that had been dominated by fascist regimes. The domestic economy was in a precarious state, and commerce with other countries was hindered by embargoes and countless difficulties (the Spanish currency had little value). To make the isolation complete, the ambassadors from Western countries withdrew in 1946, following international condemnation of the regime, and the diplomatic crisis was not resolved until 1951.

In a shattered country, people love to fantasize in the dark, and Spain became one of the most film-loving of European countries: when cinemas began to disappear elsewhere, attendance was still high for many years in Spain. The founding of Fotogramas in 1946 is a sign of the strength of Spanish film culture. In the following decades, the magazine (which continues to be published today) reflected changes in audiences and in the political situation. At the same time, the requirements of popular films had to be balanced with subtle ideological indoctrination.

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