Abstract

Abstract:

Fuego en Castilla (1957-60) by José Val del Omar experiments with iconic images of Spanish imperial culture. I argue that the Spanish Baroque imagery in this short documentary film serves as a spectral remainder of two of the most important official discourses of the time: the imperial Catholic discourse of Franco’s regime and the emerging modernizing discourse of capitalism. This argument enters into dialogue with Jacques Derrida’s concept of spectrality and Gilles Deleuze’s notion of movement-image. I position Val del Omar’s film in contrast with the regime’s official ideology regarding cinema in general, and documentary film in particular.

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Additional Information

ISSN
2164-9308
Print ISSN
0034-818X
Pages
pp. 485-507
Launched on MUSE
2016-08-11
Open Access
No
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