Abstract
The relationship between memory and history in contemporary Spain remains controversial. In spite of the current obsession with memory, materialized both in cultural production and in media debates over whether to acknowledge or forget the past, the lack of a political consensus on the issue points towards a ‘memory crisis’.2 Seventy-five years after the end of the Spanish Civil War, and nearly 40 years after Franco’s death, Spain has not fully resolved the fratricidal conflict that started in 1936, or successfully dealt with its violent traumatic past. Throughout most of the 20th century, the conflict has been remembered — or disremembered — in a very different manner in each historical period, depending on the political needs of the time. This, in turn, has influenced the collective memory and the construction of a national identity based on a division between the ‘victors’ (Nationalists) and the ‘defeated’ (Republicans) created by Francoist discourse. After Franco’s death, the promulgation of the 1977 Amnesty Law and the symbolic ‘pact of oblivion’ negotiated in the transition period postponed the settling of scores for war and post-war crimes, prolonging an indefinite silence for the ‘defeated’. However, democracy — with its consequent freedom of speech — gave rise to a fruitful cultural production that problematized Spain’s relationship with its past, initiating a remarkable transformation of its collective national memory.
The choice that we have is not between remembering and forgetting; because forgetting can’t be done by an act of the will, it is not something we can choose to do. The choice is between different ways of remembering.
Tzvetan Todorov1
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Notes
Tzvetan Todorov, Hope and Memory: Lessons from the Twentieth Century (Princeton, NJ: Princeton University Press, 2003), p. 311.
José F. Colmeiro, Memoria histórica e identidad cultural. De la postguerra a la modernidad (Barcelona: Anthropos Editorial, 2005), p. 13.
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Paloma Aguilar, Memoria y olvido de la guerra civil (Madrid: Alianza, 1996), pp. 27–29.
Jesús Izquierdo Martίn and Pablo Sánchez León, La guerra que nos han contado. 1936 y nosotros (Madrid: Alianza, 2006), p. 304. My translation.
Jo Labanyi, ‘The Languages of Silence: Historical Memory, Generational Transmission and Witnessing in Contemporary Spain’, Journal of Romance Studies 9 (2009), p. 25.
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Isolina Ballesteros, ‘Feminine Spaces of Memory: Mourning and Melodrama in Para que no me olvides (2005) by Patricia Ferreira’, in Parvati Nair and Julián Daniel Gutiérrez-Albilla (eds), Hispanic and Lusophone Women Filmmakers: Theory, Practice and Difference, (Manchester: Manchester University Press, 2013), p. 43.
Laia Quίlez Esteve, ‘Memorias protésicas: Posmemoria y cine documental en la España contemporánea’, Historia y Comunicación Social 18 (2013), p. 388.
Jaqueline Cruz, ‘Para que no olvidemos: La propuesta de recuperación de la memoria histórica de Patricia Ferreira’, Letras Hispanas 3 (2006), p 36.
Igor Barrenetxea Marañón, ‘¡Nada de olvidar! El cine y la memoria histórica’, Quaderns de cine 3 (2008), p. 11.
Ryan Prout, ‘Critical Condition: Alzheimer’s and Identity in Carla Subirana’s Nadar (2008)’, Journal of Iberian and Latin American Studies 18 (2012), p. 250.
Luisa Passerini, ‘Memories Between Silence and Oblivion’, in Katharine Hodgkin and Susannah Radstone (eds), Memory, History, Nation: Contested Pasts (New Brunswick NJ: Transaction Publishers, 2006), p. 245.
Vita Fortunati and Elena Lamberti, ‘Cultural Memory: A European Perspective’ in Astrid Erll and Ansgar Nünning (eds), Media and Cultural Memory: An International and Interdisciplinary Handbook (Berlin and New York: Walter de Gruyter, 2008), p. 127.
Fran Benavente, ‘Formas de resistencia en el documental español contemporáneo: en busca de los gestos radicales perdidos’, Hispanic Review 80 (2012), p. 615. My translation.
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© 2015 Natalia Sanjuán Bornay
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Bornay, N.S. (2015). Confronting Silence and Memory in Contemporary Spain: The Grandchildren’s Perspective. In: Carlsten, J.M., McGarry, F. (eds) Film, History and Memory. Palgrave Macmillan, London. https://doi.org/10.1057/9781137468956_4
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DOI: https://doi.org/10.1057/9781137468956_4
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