Spanish Fascism as a Political Religion (1931–1941)

Box, Zira; Saz, Ismael

doi:10.1080/21567689.2011.624408

Cited by 9 publications

(3 citation statements)

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“…23 In order to suppress discourse and images in contradiction with Catholic morality and Francoism's right-wing political ideology, screenplays and movies were submitted to rigid reviews. 24 Zira Box and Ismael Saz (2011), "Spanish Fascism as a Political Religion (1931Religion ( -1941)", Politics, Religion and Ideology 12 (4), 372. 25 Hugh Trevor-Roper (1981), "The Phenomenon of Fascism", in: Stuart J. Woolf, (ed.)…”

Section: The Political and Social Imaginaries Of Francoist Film Disco...mentioning

confidence: 99%

Identitary Symbols and Spanish Cinematic Discourse — From Francoism to Almodovarian Cinema

Stošić

2024

Film and Politics

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This paper examines identitary symbols in the context of Spanish cinematic discourse. In the frame of Francoist and Almodóvarian cinema and from the deconstructive and comparative approaches, this article argues that televisual narrative requires close reading in relation to the cultural and political context. Accordingly, each film as a mass medium, inherently transfers aesthetic ethos as well as ideological message. To support this point, this paper will analyze the main features of the Francoist and Almodóvarian cinema. Likewise, by comparing Spanish cinema during Francoist era with the changing cinematographic politics of the Transition period (la transición), this article will reveal that the political shift also enabled a cultural and sociological shift which was reflected in the birth of new cinematographic topics and consequently Almodóvar's new representations of Spanish identity, as well as gender identities. For this reason, identifying and understanding identitarian symbols of Spanish film discourse from the Francoist dictatorship era to a newly established democratic state not only outlines the social, cultural and political evolution of Spain, but also proves pivotal for the interpretation of Almodóvarian unique cinematic expression and its impact on Spanish national identity.

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Section: The Political and Social Imaginaries Of Francoist Film Disco...mentioning

confidence: 99%

Identitary Symbols and Spanish Cinematic Discourse — From Francoism to Almodovarian Cinema

Stošić

2024

Film and Politics

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“…The Falangist leader José Antonio Primo de Rivera, who saw in Mussolini a guide to redeploying the Fascist experience in Spain, 16 organized their public commemoration, adopting the Italian Fascist rite of calling out the names of the fallen, publishing the funeral orations in Falangist propaganda and establishing an annual Day of the Fallen to honour their memory. 17 The foreign model of commemorating comrades was considered a powerful resource, and consequently it was quickly appropriated and adapted by an inept Spanish fascist movement in search of legitimation.…”

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confidence: 99%

Transnationalizing fascist martyrs: an entangled history of the memorialization of Ion Moţa and Vasile Marin in Spain and Romania, 1937–41

Zavatti

2022

Historical Research

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This article analyses the memorialization of Ion Moţa and Vasile Marin, two Romanian Legionary movement volunteers who died while fighting for Franco in the Spanish Civil War, as an entangled history of Romanian and Spanish fascisms. The commemoration practices and narratives recounted in the Spanish and Romanian newspapers and archival sources from the period 1937–41 show that commemorating foreign ideological peers and appropriating symbolic elements of foreign fascisms in order to memorialize fallen comrades served as resources for legitimizing the struggle against domestic competitors. Although the totalitarian ambitions of Spanish and Romanian fascists remained unfulfilled, the Spanish-Romanian entanglement contributed to consolidating Moţa and Marin as martyrs of transnational fascism.

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“…Historian Paul Preston argues that the early mises-en-scène of Franco's emerging dictatorial regime were intended to establish his status as a "worthy coeval of the Duce and the Führer, as well as a fitting heir of the great warrior kings of Spain's glorious past" (2004: 362). In the early years of his rule, Franco saw fascism as the fastest route to a glorious, reborn Spain, in a local version of what some authors define as a sort of political religion (Saz 2004;Box and Saz 2011), or even clerical fascism (e.g., Trevor-Roper 1981)-which he connected to the medieval birth of the Christian nation and the subsequent splendor of imperial times. To this end, as his press office stated at the time, the massive entry of his troops into Madrid followed the pattern first established by King Alfonso VI in 1085 when he seized the city of Toledo from the Muslims, accompanied by legendary knight Cid Campeador (Preston 2004: 365-67).…”

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confidence: 99%

Francisco Franco Is Back: The Contested Reemergence of a Fascist Moral Exemplar

Ferrándiz

2021

Comp Stud Soc Hist

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Based on long-term ethnographic research on contemporary exhumations of mass graves from the Spanish Civil War (1936–1939), as well as analysis of the exhumation of Francisco Franco from the Valley of the Fallen, this paper looks at the ways in which the dictator’s moral exemplarity has evolved over time since his military victory in 1939. During the early years of his dictatorship, Franco’s propaganda machine built the legend of a historical character touched by divine providence who sacrificed himself to save Spain from communism. His moral charisma was enriched by associating his historical mission with a constellation of moral exemplars drawn from medieval and imperial Spain. After his death, his moral exemplarity dwindled as democratic Spain embraced a political discourse of national reconciliation. Yet, since 2000, a new negative exemplarity of Franco as a war criminal has come into sharp focus, in connection with the exhumation of the mass graves of tens of thousands of Republican civilians executed by his army and paramilitary. In recent years, Franco has reemerged as a fascist exemplar alongside a rise of the extreme right. To understand the revival of his fascist exemplarity, I focus on two processes: the rise of the political party Vox, which claims undisguised admiration for Franco’s legacy (a process I call “neo-exemplarity”), and the dismantling in October 2019 of Franco’s honorable burial and the debate over the treatment that his mortal remains deserve (a process I call “necro-exemplarity”).

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Spanish Fascism as a Political Religion (1931–1941)

Cited by 9 publications

References 0 publications

Identitary Symbols and Spanish Cinematic Discourse — From Francoism to Almodovarian Cinema

Identitary Symbols and Spanish Cinematic Discourse — From Francoism to Almodovarian Cinema

Transnationalizing fascist martyrs: an entangled history of the memorialization of Ion Moţa and Vasile Marin in Spain and Romania, 1937–41

Francisco Franco Is Back: The Contested Reemergence of a Fascist Moral Exemplar

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