The news media have given us potent demonstrations of the
ambiguity of ostensibly truthful representations of public events.
Jordana Mendelson uses this ambiguity as a framework for the study
of Spanish visual culture from 1929 to 1939--a decade marked, on
the one hand, by dictatorship, civil war, and Franco's rise to
power and, on the other, by a surge in the production of
documentaries of various types, from films and photographs to
international exhibitions.
Mendelson begins with an examination of El Pueblo Espanol, a
model Spanish village featured at the 1929 International Exposition
in Barcelona. She then discusses Bunuel's and Dali's documentary
films, relating them not only to French Surrealism but also to
issues of rural tradition in the formation of regional and national
identities. Her highly original book concludes with a discussion of
the 1937 Spanish Pavilion, where Picasso's famed painting of the
Fascist bombing of a Basque town--Guernica--was exhibited along
with monumental photomurals by Josep Renau.
Based upon years of archival research, Mendelson's book opens a
new perspective on the cultural politics of a turbulent era in
modern Spain. It explores the little-known yet rich intersection
between avant-garde artists and government institutions. It shows
as well the surprising extent to which Spanish modernity was
fashioned through dialogue between the seemingly opposed fields of
urban and rural, fine art, and mass culture.
General
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