This week we sought to understand and read competently the ways in which the forging of fascism, cinema, and religiosity interacted in the first three decades of the 20th century in Spain. To that end, we read about and discussed the roles played by silence in the work of artistic pioneers, especially filmic. This, in turn, led us to appreciate the rich tapestry of paradoxes composed of propaganda for and resistance to fascism in Spain before 1930.
On Tuesday we discussed the basics of “Silent Cinema and Its Pioneers,” and its tales of ‘lost patrimony’ and ‘ghostly remnants’ produced in a time of political and economic upheavals that led to great poverty and much war, as our textbook by Pavolvić notes (1-2). To understand better the importance of gender roles, performance, and their engagement of honor codes, we watched in class a clip from Benito Perojo’s La Bodega / The Tavern (1929). On Thursday we compared primitive glimpses of fascism, poverty, and heteronormativity we saw in Perojo’s clip, and we will compare them with those offered by Florián Rey and Luis Buñuel in their respective classic films, La aldea maldita (The Damned Village, 1930) and Un chien andalou (An Andalusian Dog, 1929).
For your reflection this week, comment on the different ways that Perojo, Rey, and Buñuel deploy silence to represent poverty, gender, and the honor code. Please, post your reflection by Sunday at 5pm at the latest.