http://www.revistalatinacs.org/10/art2/912_Malaga/34_GomezEN.html
DOI: 10.4185/RLCS-65-2010-912-460-471-EN

<title>RLCS, Revista Latina de Comunicación Social</title>
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<meta name="DC.title" content="Women, engagement and censorship in Spanish Cinema. 1939-1959 ”/>
<meta name="DC.creator.personalName" content="Dra. Fátima Gil-Gascón "/>
<meta name="DC.creator.address" content="fatima.gil@unir.net"/>
<meta name="DC.contributor.editor" content="Dr. José Manuel de-Pablos-Coello"/>
<meta name="DC.contributor.address" content="jpablos@ull.es"/>
<meta name="DC.Date.availableated"lang="es" scheme="iso8601" content="2010"/>
<meta name="resource-type" content="scientific paper"/>
<meta name="distribution" content="Global"/>
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<meta name="rating" content="General"/>
<meta name="digital objet identifier, DOI" content="DOI: 10.4185/RLCS-65-2010-912-460-471-EN"/>
<meta name="DC.Description" lang="en" content=“Revista Latina de Comunicación Social, RLCS, is a scientific journal edited at the University of La Laguna, ULL (Tenerife, Canary Islands) in the Laboratory of Information Technologies and New Analysis of Communication, LATINA according to its initials in Spanish, founded in 1987 by Dr. José Manuel de-Pablos-Coello, under the protection of special doctorate programmes for Latin American professors. The journal publishes under the main summary almost exclusively research papers written following the formula IMR&DC+B: introduction, methodology, results and discussion plus conclusion, with a updated bibliography: at least 70% of the bibliographic entries must be from the past 10 years and half of them from scientific journals in Spanish and English languages. Reviewers make a double blind peer examination. This is a collective and inter-university project, including many professors and researchers from almost all Spanish and Portuguese speaking countries. The journal is the following databases: EBSCO (USA), DOAJ (Lund University, Sweden), Redalyc (Mexico), Dialnet (Spain); and is indexed by the CINDOC-CSIC in DICE, ISOC, RESH, Office of Latin American Education, OEI according to its initials in Spanish; Dulcinea, etc. In Spain the journal is a reference in the Directory of Index of Spanish Periodicals of Social and Communication Sciences, IN-RECS, of the University of Granada, UGR. RLCS occupies the first position in the cumulative index for the periods 2003-2007; 2004-2008 and the year 2008.”/>
<meta name="DC.Description.tableOfContents" lang="en"/>
<meta name="DC.contributor.referee I" content="The article makes a very interesting contribution to the history of social communications during the Franco regime and, in particular, to studies on the Spanish cinema of that time. Its theoretical approach combines two widely developed perspectives: the function of cinema as a medium that helps shaping the ideological and socio-cultural traits that are characteristic of a historical context; and the analysis of films as cultural products that reflect the specific characteristics of the society in which they were produced. To develop this approach, the author(s) developed an adequate research that combines the analysis of the cinematic discourse and the ideological referents that condition that discourse, and at the same time allow us to understand its meaning in the socio-political context. The richness and relevance of the sources consulted (films, censorship reports, press and literature) and the bibliographic references are outstanding. All this facilitates a deeper level of analysis and criticism that is not limited to the description of cinematographic characters, a problem that exists in some studies of this kind. The references on this article are the basis of a solid argument. The outcome of the investigation is equally valuable in two senses. On the one hand, it draws the attention to a particular area that has hardly been explored from a cinematic perspective: the construction of women’s identity during the first stage of the Franco regime. On the other hand, the article contributes to the reflection and debate about how to assess fiction cinema’s contribution to the shaping of models of behavior in an authoritarian political context. The article offers very interesting findings regarding the evolution of messages disseminated within the first Francoist regime and its censorship system. Finally, we must highlight the clarity, accuracy and consistency with which the arguments are presented. Professor Araceli Rodríguez Mateos, Ph.D. – Rey Juan Carlos University of Madrid."/>
<meta name="DC.contributor.referee II" content="The article addresses the models of behaviour received by the Spanish women through cinema during the Francoist regime, based on the qualitative analysis of two hundred movies produced in Spain during this time, and in which women have a prominent role. The subject of the article, which has been poorly examined in previous studies, helps understanding the influence of cinematographic messages in a specific sociocultural context. The method used to examine the sample of films is discourse analysis, which is appropriate to fulfil the objectives of the research. The text is clearly structured and its writing style is correct. The sources in which the work is based are relevant and varied. The publication of the article is recommended, without modifications. Professor Blanca Chong López, Ph.D. – Autonomous University of Coahuila, Mexico."/>
<meta name="DC.Description.tableOfContents" lang="en"/>
<meta name="DC.description.abstract" content="Abstract: This research analyzes the feminine identity through love and engagement representations in Spanish cinema during the first years of francoism (1939-1959). The fieldwork was two hundred films released in these years. The election agreed two criterion: first, how much time they were showed in cinema and, second, relevance with this research. We have completed with the analysis of censorship reports about that films. This research strand reflects the master lines of the regime about the representation of the official model of woman. This research consulted the most relevant women magazines to check similarities and differences with cinema.
In conclusion, love -in Spanish films in these years- wasn’t the romantic feeling, other artistically forms represents. The female audience understood this sensation -love- with engagement (conducted to marriage) and family. That’s all the spanish women have to done in the francoism Spain."/>
<meta name="DC.Description.tableOfContents" lang="en"/>
<meta name="DC.keywords" content="Keywords: Francoism; cinema; censorship; women; reception"/>
<meta name="DC.identifier" LANG="en" SCHEME="URI"/>
<meta name="DC.publisher.corporateName" content="Universidad de La Laguna (Tenerife, Islas Canarias). LAboratorio de Tecnologías de la Información y Nuevos Análisis de Comunicación, LATINA"/>
<meta name="DC.date.issued" content="2010"/>
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<meta name="DC.identifier content="http://www.revistalatinacs.org/10/art2/912_Malaga/34_GomezEN.html"/>
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<meta name="DC.identifier" content="http://www.revistalatinacs.org/10/art3/912_Malaga/RLCS_art912EN.pdf"/>
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<meta name="DC.language" content="en"/>
<meta name="DC.relation.isPartOf" content="1138-5820" scheme="ISSN"/>
<meta name="DC.rights"content="Universidad de La Laguna (Tenerife, Islas Canarias). LAboratorio de Tecnologías de la Información y Nuevos Análisis de Comunicación, LATINA"/>
<meta name="DC.TERMS.bibliographicCitation" content="Gil-Gascón, F. and Gómez-García, S. (2010): "Women, engagement and censorship in the Spanish Cinema. 1939-1959", at Revista Latina de Comunicación Social, 65. pages 460 to 471. La Laguna (Tenerife, Canary Islands): La Laguna University, retrieved on ___th of ____ of 2_______, from http://www.revistalatinacs.org/10/art3/912_MalagaA/34_GomezEN.html
DOI: 10.4185/RLCS-65-2010-912-460-471-EN"/>