Ghostly Landscapes: Film, Photography, and the Aesthetics of Haunting in Contemporary Spanish Culture PDF
Preview Ghostly Landscapes: Film, Photography, and the Aesthetics of Haunting in Contemporary Spanish Culture
GHOSTLY LANDSCAPES Film, Photography, and the Aesthetics of Haunting in Contemporary Spanish Culture This page intentionally left blank Ghostly Landscapes Film, Photography, and the Aesthetics of Haunting in Contemporary This page intentionally left blank Spanish Culture PATRICIA M. KELLER UNIVERSITY OF TORONTO PRESS Toronto Buffalo London © University of Toronto Press 2016 Toronto Buffalo London www.utppublishing.com Printed in the U.S.A. ISBN 978-1-4426-4888-3 Printed on acid-free, 100% post-consumer recycled paper with vegetable- based inks. Library and Archives Canada Cataloguing in Publication Keller, Patricia M., 1977−, author Ghostly landscapes : film, photography, and the aesthetics of haunting in contemporary Spanish culture / Patricia M. Keller. (Toronto Iberic) Includes bibliographical references. ISBN 978-1-4426-4888-3 (bound) 1. Photography – Spain – History − 20th century. 2. Landscape photography – Spain – History − 20th century. 3. Historiography and photography − Spain. 4. Art and history − Spain. 5. Loss (Psychology) in art. 6. Spain – History − Civil War, 1936−1939 − Art and the war. I. Title. II. Series: Toronto Iberic TR87.K45 2015 770.946 C2015-905934-8 This book has been published with the assistance of the Hull Memorial Publication Fund of Cornell University. University of Toronto Press acknowledges the financial assistance to its publishing program of the Canada Council for the Arts and the Ontario Arts Council, an agency of the Government of Ontario. Funded by the Financé par le Government gouvernement of Canada du Canada Dedicated to Cristina Moreiras Menor with love and gratitude This page intentionally left blank Contents This page intentionally left blank List of Illustrations ix Acknowledgments xiii Introduction: Ghostly Landscapes 3 1 Documentary Optics: NO-DOs’ Archival Gaze and the Totalized Landscape 24 2 Cinematic Apertures: Carlos Saura’s Untimely Landscapes 86 3 Photographic Interventions: Two Meditations on Landscape and Loss 132 I. The Modernity of Ruins: Manuel Sendón’s Architecture of Photography 137 II. The Space That Remains: Bleda y Rosa’s Monumental Photography 164 Notes 217 Works Cited 241 Index 253 This page intentionally left blank Illustrations This page intentionally left blank 1.1 Binocular vision. 31 1.2 Cameramen filming the audience superimposed over images of typewriters and scripts. 36 1.3 NO-DO cameramen study a map of Spain. 37 1.4 NO-DO car racing across the landscape in search of the news. 38 1.5 “Hunting” the news in all places. 39 1.6 Multiple images of the “news being born.” 40 1.7 Multiple images of the “news being born.” 40 1.8 Multiple images of the “news being born.” 40 1.9 An editing technician selecting the most important news. 41 1.10 The archive’s wealth of information. 42 1.11 The archive’s wealth of information. 42 1.12 The archive’s wealth of information. 42 1.13 Spain’s exportation of NO-DO. 46 1.14 The masses symbolize unification of a “free” nation under Franco. 48 1.15 Franco at his desk, “always working” for the nation. 49 1.16 NO-DO logo. “El mundo entero al alcance de todos los españoles.” 57 1.17 Inside NO-DO. 62 1.18 In the editing room, technicians hunt for the news too. 64 1.19 The viewer is invited into the archive. 67 1.20 The viewer is invited into the archive. 67 1.21 The viewer is invited into the archive. 67 1.22 NO-DO reels ready for exportation. 69 1.23 “La difusión de las realidades españolas por todo el mundo.” 70
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