Franco’s fascist dictatorship has been characterized as a singular, exceptional kind of regime, especially when compared to that of Hitler in Germany and Mussolini in Italy. During this first week of March we explored the nexus of death, humor, and liberalism in the crucial years of Franco’s fascist regime, and we sought to learn the role played by cinema in the unfolding of this singular phenomenon in fascism.
On Tuesday we explored the unfolding of what Pavlovic calls a ‘liberal’ dictatorship, a repressive regime characterized by a constant straddling of pleasure, delight, and hegemony, and following Steven Marsh’s lead, we focused on the importance of humor in the representation of death, the State, and the family in film. We analyzed how two surprising sources of influence, French and American cinema, add new turn to this complex screw of aesthetic and political representation. On Thursday we analyzed how this brand of Spanish ‘liberal’ fascism and the dyad humor-hegemony rear their head in the filmic experiment of Luis García Berlanga’s The Executioner.
Choose one of these leads, and write your reflection on these matters. This reflection does not have a deadline, but try not to let it accumulate until the end of the semester.