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Noncommercial Film Cultures in Spain (1931-1936)

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Noncommercial Film Cultures in Spain (1931-1936) A Pedagogical Impulse: Noncommercial Film Cultures in Spain (1931-1936) Enrique Fibla Gutierrez A Thesis in The Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Film and Moving Image Studies) at Concordia University Montréal, Québec, Canada September 2018 © Enrique Fibla Gutierrez, 2018 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Enrique Fibla Gutierrez Entitled: A Pedagogical Impulse: Noncommercial Film Cultures in Spain (1931-1936) and submitted in partial fulfillment of the requirements for the degree of Doctor Of Philosophy (Film and Moving Image Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. Juan Carlos Castro External Examiner Dr. Jordana Mendelson External to Program Dr. Charles R. Acland Examiner Dr. Haidee Wasson Examiner Dr. Luca Caminati Thesis Supervisor (s) Dr. Masha Salazkina Approved by Dr. Masha Salazkina Chair of Department or Graduate Program Director 10/22/2018 Date of Defence Dr. Rebecca Taylor Duclos Dean, Faculty of Fine Arts iii Abstract A Pedagogical Impulse: Noncommercial Film Cultures in Spain (1931-1936) Enrique Fibla-Gutierrez, Ph.D. Concordia University, 2018 This dissertation analyzes noncommercial film culture in Spain during the Second Spanish Republic (1931-1936), focusing on the pedagogical efforts of film criticism, nontheatrical, educational, amateur, and political filmmaking, as well as institutional developments associated with these movements. In this short and intense period of time the country experienced unprecedented social transformations and heightened participation of citizens in the public sphere through mass media and cultural initiatives. The images of ecstatic crowds celebrating the advent of the Republic on April 14th, 1931, are a testament to the hopes that the new era brought to those that wanted to break with the country’s unequal and corrupt old order. But it was also a time of unstable governments, resistance to democratic change and social justice, and political radicalization that found a tragic end in the Civil War provoked by Francisco Franco’s failed coup d’état in July 18, 1936. The emergence, international consolidation, and lasting effects of noncommercial film culture amidst this incredibly convulsive and complex context are the subject of the thesis. In its four chapters I examine the use of film as a tool for cultural and social progress in a country that was avidly looking for new models of political organization and modernization. Specifically, I look at the appeal of Soviet cinema and Socialist iv modernity for Spanish intellectuals and filmmakers and the influence that this radical film culture had in the later production of propaganda films during the Civil War; the materialist translation of the avant-garde into Spain through transnational networks of film education and critical spectatorship epitomized in the journal Nuestro Cinema created by Juan Piqueras in 1932; the participation of Catalan amateur filmmakers in the emergent international amateur film movement that organized its first international congress in 1935 in Barcelona; and the institutionalization of cinema into state film policies, geopolitical initiatives, and educational programs by the Spanish and Catalan governments during the 1930s. The aim of the dissertation is, then, to include the Spanish context into 1930s film scholarship, from which it has been largely excluded, showing how it can illuminate new perspectives on the relationship between cinema and modernity, the emergence of film culture, the avant-garde, film education, institutionalization and cinema beyond the commercial screen. v Acknowledgments I want to use this section to stress that no dissertation belongs entirely to its author. In my case it pertains as much to my supervisor Masha Salazkina and her endless generosity and patient guidance. I feel truly grateful to have crossed paths with such a supportive advisor and will try my best to transmit this enriching experience to the future students I may have. As philosopher Georges Didi-Huberman reminds us, neoliberal “inhumanity” always coexists with “spaces of humanity” that resist it from the humbleness of everyday conversations and actions. Thank you, Masha, for enabling such a refuge of humanity during these years and for teaching me the virtues of true collaborative work. The same goes for Pablo La Parra-Pérez, a friend first but also a brilliant young scholar with whom I have shared doubts, joys, disappointments, successes, travels, projects, etc. and with whom I wish I could have co-written this dissertation. Gracias camarada. I extend this recognition of the collective authorship of my dissertation to my committee, from which I have learnt so much. Having Haidee Wasson and Luca Caminati onboard has been a luxury. Their comments and feedback on my comprehensive examination, thesis proposal, and specialization examination significantly helped shape the theoretical and methodological framework of the thesis project and my work as a scholar in general. Charles Acland and Jordana Mendelson have completed a real dream team of a committee that I couldn’t have imagined when I started the PhD in 2014. The Mel Hoppenheim School of Cinema at Concordia University has been a real home in all this time. Despite my constant coming and goings from Montreal to Barcelona and vice versa I have always been able to count with numerous friends, vi colleagues, and teachers in my beloved Canadian shelter. In no particular order I want to thank Beatriz Bartolomé Herrera, Patrick Smith, Viviane Saglier, Joaquin Serpe, Sima Kokotivc, Maria Corrigan, Kay Dickinson, Joshua Neves, Marc Steinberg, Martin Lefebvre, Weixian Pan, Edo Ernest, Will Fech, Tess McClernon, Theo Stojanov, Giuseppe Fidotta, Patrick Brodie, Darien Sánchez Salas, Nikola Stepic, Irene Rozsa, and Zach Melzer for creating such a warm and healthy environment in which to pursue a PhD. Likewise thank you Basma, Guy, Nur, Isaac, Irene, and Juan for your beautiful hearts and utmost hospitality. The doors of my house, wherever that is, will always be open to you. This dissertation wouldn’t have been possible without the assistance of the archivists at the Filmoteca de Catalunya (Barcelona), Biblioteca Nacional de Catalunya (Barcelona), Pavelló de la República (Barcelona), Filmoteca Española (Madrid), Biblioteca Nacional (Madrid), Archivo Histórico del Partido Comunista (Madrid), Biblioteca Valenciana (Valencia), and Bibliothèque Nationale de France (Paris). Their work, and the importance of archives to learn about our society and its history, deserves eternal gratitude and recognition. A special thank you to my MA cohort, colleagues, friends, and mentors at San Francisco State University, who took in a confused Spaniard in 2011 and sheltered him through a challenging seminar on Julia Kristeva, homesickness, and a long-distance relationship. I will always be thankful to the kindness and friendship of Andrew Clark, Joel Park, Rodrigo Sombra, Patrick Brame, Megan Payne, Rachel Hart, Courtney Fellion, Alina Predescu, Abas Zadfar, Sean Bristol-Lee, and Ashley Nunes. Professors Jenny Lau, Aaron Kerner, and Randy Rutsky were not only excellent teachers, but also incredibly vii supportive mentors that helped me navigate the difficult transition from cinephile to scholar. Daniel Bernardi and Tarek Elhaik deserve a separate mention, both for their intellectual and human generosity. Thank you for opening your hearts and brilliant minds and encouraging me to pursue an academic career from which you are ultimately responsible. And thanks also to my Californian “Strong” adoptive family; Rob, Muy, Ken, and Vera. I would also like to recognize the help of the numerous scholars that I have met in conferences, archives, events, bars, or through email correspondences. A special mention goes to Sonia García López, Lee Grieveson, Andrea Mariani, Timothy Barnard, François Albera, Benoit Turquety, Valérie Vignaux, Jane Gaines, Fernando Ramos Arenas, Eduardo Hernández Cano, Vicente Rubio-Pueyo, Miguel Fernández Labayen, Malte Hagener, Vicente Sánchez Biosca, Josep Maria Català, and Aitor Hernández Eguíluz. And to the many others that I haven’t met in person but whose work has been instrumental in my work; Marta García Carrión, Bert Hogenkamp, Vicente Benet, José María Caparrós Lera, Román Gubern, Zhang Zhen, Jo Labanyi, Heather Norris Nicholson, María Antonia Paz Rebollo, Alicia Alted Vigil, Russell Campbell, and a long etc. A successful dissertation not only depends on the “spaces of humanity” that one is lucky to find in academia. It is especially dependent on the love of friends and family to which I have had to wave goodbye too many times in these last years. I thank my parents Luisa and Ricardo for giving me everything and always welcoming me back into the joyful chaos of a Valencian family (with is completed by two magnificent and utterly disorganized Fibla brothers). Thank you also to the Vilas crowd, my Catalan family and a viii constant source of support. Lur, Pau, Arnau, Susana, Martina, Ricard, Robert, Ashton, Ben, Jesse, and Carles, have been instrumental in keeping my spirits up and priorities clear: their friendship and love is the most precious thing in life. Which leads me to the last, but not least, person I have to thank for her encouragement, strength, and amusing company;
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