| Grant number: | 22/14494-4 |
| Support Opportunities: | Regular Research Grants |
| Start date: | March 01, 2023 |
| End date: | February 28, 2025 |
| Field of knowledge: | Humanities - Sociology - Other specific Sociologies |
| Principal Investigator: | Mauro Luiz Rovai |
| Grantee: | Mauro Luiz Rovai |
| Host Institution: | Escola de Filosofia, Letras e Ciências Humanas (EFLCH). Universidade Federal de São Paulo (UNIFESP). Campus Guarulhos. Guarulhos , SP, Brazil |
Abstract
This article analyzes the film España Heroica (1938), a propaganda piece carried out by the insurgent side during the Spanish Civil War. The film is considered by some authors as the "most consistent propagandist monument of national cinematography," inviting us to take it as a privileged object of study. We propose to explore the film and - throughout the research - produce three articles. The first article - already referred to be printed - discusses aspects of the notion of sacred that surfaces in the film's plot. They include those related to excluding part of the population from political participation. The second article - on production at the moment - questions how the notion of order is mobilized in the narrative, exploring how it built the importance of discipline and the figure of women - elements that, in the film's universe, help to show an ideal Spain. The third will address the dream of a harmonious and united Spain by studying how the notion of work appears staged in the final block of the film. As for the methodology, the primary references will be Pierre Francastel and Pierre Sorlin. Although guided by different theoretical paths, both authors converge at a fundamental point, i.e, the fundamental concern with how the work is organized internally, taking the film construction as a producer of a set of information about the society, which the sociologist seeks to understand. Accordingly, given that our interest is in understanding the society staged in the film, we will avoid explaining the work by its context of production, its status of propaganda, or by comparing what is depicted on the screen with what would be the truth of the facts. In other words, we seek to understand the propositions about society and the period present in the film, not society and the period. (AU)
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