Abstract
In 1937 Pablo Picasso painted his large black and white canvas, “Guernica,” after the bombing of this Basque village by Italian and German warplanes on April 26 of that year. Commissioned by the as-yet undefeated Spanish republican government for the Spanish pavilion at the 1937 Paris International Exposition of Art and Technology in Modern Life (“Exposition Internationale des Arts et Techniques dans la Vie Moderne”), this painting has gained worldwide renown as a representation of the suffering inflicted upon civilian populations in modern warfare.
This is a preview of subscription content, log in via an institution.
Buying options
Tax calculation will be finalised at checkout
Purchases are for personal use only
Learn about institutional subscriptionsPreview
Unable to display preview. Download preview PDF.
Notes
Robin Adèle Greeley, Surrealism and the Spanish Civil War (New Haven: Yale Univ. Press, 2006), 154–161.
Fernando Arrabal, Fando y Lis, Guernica, La Bicicleta del condenado, Francisco Torres, ed. Monreal (Madrid: Alianza Editorial, 1986), 103–143.
Fernando Arrabal, Carta al General Franco (Madrid: Augur Libros, 2008), 40.
Karl-Wilhelm Kreis, Zur Ästhetik des Obszönen; Arrabals Theater und die repressive Sexualpolitik des Franco-Regimes (Hamburg: Verlag Dr. R. Krämer 1984), 40–42.
L. Alonso Tejada, La represíon sexual en la España de Franco (Barcelona: Luis de Carlat, 1977), 134–136.
Rafael Abela, La vida cotidiana bajo el régimen de Franco (Madrid: Ediciones Temas de Hoy, 1996), 53.
André Breton, Anthologie de l’humour noir (Paris: Pauvert, 1966), 12
Max Ernst, Beyond Painting and Other Writings of the Artist and His Friends (New York: Wittenborn & Schultz, 1948), 16–17.
Geneviève Serreau, “Arrabal,” in Arrabal, El Homre pánico, El Cementerio de automóviles, Ciugrena, Los dos verdugos (Madrid: Taurus Edicíones, 1965), 16.
John Baxter, Buñuel (New York: Carroll & Graf, 1994), 117–122.
André Breton, Mad Love, trans. Mary Ann Caws (© 1937; Lincoln: Univ. Nebraska Press, 1987), 31.
Georges Sadoul in Les Lettres françaises, April 5, 1962; quoted in Luis Buñuel, Viridiana: Scénario et dialogues (Paris: Pierre Lherminier, 1984), 158.
Cordula Rabe, Pedro Almodóvar: Nachfranquistisches Spanien und Film (Alfeld: Coppi-Verlag 1997), 61–62 and 69–73.
Nuria Vidal, El cine de Pedro Almodóvar (Barcelona: Ediciones Destino, 1988), 32.
Marvin D’Lugo, “Almodóvar’s City of Desire,” in Kathleen M. Vernon and Barbara Morris, eds., Post-Franco, Postmodern (Westport, CT: Greenwood Press, 1995), 125.
Marsha Kinder, “Pleasure and the New Spanish Mentality,” Film Quarterly 41, no. 1 (Fall 1987): 41–42.
Pedro Almodóvar, “Solo en la plaza,” interview with José-Luis Gallero, in José-Luis Gallero, ed., Sólo se vive una vez: splendor y ruina de la movida madrileña (Madrid: Árdora Ediciones, 1991), 219.
Author information
Authors and Affiliations
Copyright information
© 2015 Inez Kathleen Hedges
About this chapter
Cite this chapter
Hedges, I. (2015). Convulsive Memory: The Spanish Civil War and Post-Franco Spain. In: World Cinema and Cultural Memory. Palgrave Macmillan Memory Studies. Palgrave Macmillan, London. https://doi.org/10.1057/9781137465122_4
Download citation
DOI: https://doi.org/10.1057/9781137465122_4
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-49941-0
Online ISBN: 978-1-137-46512-2
eBook Packages: Palgrave Media & Culture CollectionLiterature, Cultural and Media Studies (R0)