Godayol, Pilar. 2020. "Brigitte Bardot and the Lolita Syndrome, by Simone de Beauvoir: Censored under Francoism". Translation & Interpreting 12 (2): 36-47. (original) (raw)
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Translation & Interpreting, 2024
In the 1960s and 1970s, second-wave feminism promoted important feminist publishing platforms, especially in North American and European countries. After the dictatorship of Francisco Franco (1939-1975), the need to seek foreign ideological mothers led to the emergence of the first feminist series and journals in Spain. In Barcelona, in 1976, the journal Vindicación Feminista (1976-1979) was born, giving voice to many international feminist authors and their publications. A year later, in 1977, in Madrid, the publishing house Debate produced the series Tribuna Feminista (1977-1982). In 1978, in Barcelona, the first Spanish feminist publishing house, LaSal. Edicions de les Dones (1978-1990), was founded. In this article, three post-Francoist feminist publishing projects based on "solidarities" are presented. All of them were "agents of cultural translation" that shared a main objective: to normalize Iberian feminism by introducing new literary movements, works and authors for theoretical discussion after the National-Catholic-patriarchal regime of Francoism. The arrival of feminist literature through practices of "solidary cultural translation" was crucial to the social transformations at the time.
N. 23 / PRIMER PLANO: THE POPULAR FACE OF CENSORSHIP / Albert Elduque Busquets
During the early years of Franco’s dictatorship, the film magazine Primer Plano, a publication aligned with the Falange, was an important instrument for the promotion of the regime’s ideas about the construction of a national film industry and about the film production of other countries. In the case of depictions of love and sexuality, the double-edged threat (spiritual and economic) represented by foreign films could be seen, according to the magazine, in the invasion of alien gestures which the Spanish people sought to imitate and in the proliferation of films whose thematic focus was sexual desire, which threatened the stability of Francoist society, especially where the role of the woman was concerned. In opposition to these narratives of desire, Primer Plano advocated a chaste and morally edifying conception of love.
History of Education & Children’s Literature, 2018
English: General Franco’s dictatorship imposed publications for children and teenagers a strict censorship system, which generated an important limitation for authors and editors of comic books. This article analyses – through the legislation of the «Boletín Oficial» del Estado and theoretical texts published during the dictatorship- who were the people in charge of creating the regulations and supervising the contents, and what objective they were looking after in the case of female teen comics, which were publications aimed at female readers. We will also examine the different positions on this gender-based segregation, discovering the dissenting voices that appeared and the arguments they employed. Spanish: La dictadura del general Franco impuso a las publicaciones españolas dirigidas a la infancia y la juventud un estricto control mediante el uso de la censura, la cual dio lugar a una limitación importante en lo que el personal creativo y las editoriales podían mostrar en los cómics y revistas que publicaban. El presente artículo estudia, a través de la legislación recogida en el Boletín Oficial del Estado, entrevistas y diferentes textos teóricos publicados durante la dictadura, quiénes eran las personas encargadas de crear y supervisar la normativa censora, y qué objetivos se marcaban en el caso de las publicaciones para mujeres jóvenes.
N. 23 / SEEING INWARD, LOOKING OUTWARD: FEMALE DESIRE IN FRANCOIST CINEMA / Carlos Losilla Alcalde
Carlos Losilla (b. Barcelona, 1960) holds a PhD in Audiovisual Communication. He is associate professor with the Department of Communications at Universitat Pompeu Fabra, and his research interests include the historiographical revision of the concepts of the classical and the modern in cinema. His recent published books include La invención de la modernidad [The Invention of Modernity] (2011) and Zona de sombra [Shadow Zone] (2014).
In this paper, I study the butchered text of José Luis Borau’s TVE production of Miau as a hybrid text shaped both by Galdós’s original novel and the Francoist censors’ social agenda. I focus on the competing models of masculinity depicted onscreen: the frustrated impotence of the honorable Ramón Villaamil and the success of the morally bankrupt Víctor Cadalso. The construction of masculinity is pertinent both at the end of the nineteenth century, when Golden Age models of heroic masculinity gave way to new bourgeois ideals, and the end of the Francoist regime, which had called for a return to heroic masculinity anchored in a renewed nationalism. I argue that, while the censoring of Miau clearly seeks to promote conservative social values, the remaining footage ultimately highlights the utter failure of honorability and triumph of corruption in Spanish society, ironically promoting a sense of masculinity at odds with Francoist discourse.