The film La Malcasada as an example of repercussion of Africanistas soldiers' stereotyped image in mass media

Authors

  • Cristóbal Marín Molina Universidad de Granada

DOI:

https://doi.org/10.53351/ruhm.v6i11.248

Keywords:

Africanists, Image, Mass Media, Modernity, Stereotypes

Abstract

Demarcated inside the Communication theory, this article is based on studies of American journalist and political analyst Walter Lippman, where it is explained how the mass media create, through stereotypes, the reality of different matters which escapes from the direct experience of citizens (mental imagery which settle a classification on individuals, groups and different realities). Apart from this, the theoretical foundation relies on agenda-setting theory too, which study how mass media implant newsworthy matters (news and problems that have to be discussed in the public space) and the frames of the interpretation of social realities, as well as the influence that they have in public opinion and the establishment of their long term effects.

The movie La Malcasada, where different soldiers (general Francisco Franco, colonel Millán Astray, general José Sanjurjo) of the Spanish Colonial Army in Morocco (which is called Africanista army), is a vehicle to give an appearance of modernity, from a traditional society to a mass society based on urban way of life and consumption, and where propaganda plays a fundamental role. The film is a fixed view of the leader social class, where ancient social elements (aristocracy, politicians, bullfighters…) are mixed with new social agents (artists, doctors, engineers…). The army wanted to participate in that trendiness too, and the cinema, together with other mass media, constituted an excellent opportunity to propagate its stereotypes to a refractory public who was against its military interventions in the Spanish Protectorate in Morocco.

The film is a point of departure and an example to analyze how the Spanish army, particularly those Africanistas soldiers, used all mass media to their range to create a positive image of their political and military actions in the Protectorate in Morocco. All this was made a reality through different ways: movies (documentaries and fictional films), novels, photos, songs, toys, etc. carrying out a great effort to combine images and words. To get that target, they turned to control of news through censorship, biased information, governmental grants and support of opinion leadership agents, and, in this way, the army stereotypes inside Spanish society were reinforced.

For this study, different sources has been used, such as specialized bibliography about military Africanismo phenomena, mass media (specifically cinema and press), as well as the information provided from files of digital newspapers libraries. In addition, material coming from the movie La Malcasada and other films has been watched for their analysis.

Downloads

Download data is not yet available.

Author Biography

  • Cristóbal Marín Molina, Universidad de Granada

    Cristóbal Marín Molina (Córdoba, 1969) Es licenciado en Geografía e Historia (Historia Contemporánea) por la Universidad de Granada y ha cursado varios programas de Doctorado en la misma. Consiguió el Diploma de Estudios Avanzados del Tercer Ciclo con una investigación sobre la cinematografía realizada durante el franquismo y centrada en la temática de las estructuras económicas y sociales del mundo agrario. Actualmente se encuentra ultimando una tesis doctoral sobre aquellas películas (documentales y films de ficción) que se rodaron durante las campañas de Marruecos (1909-1927). Sus líneas de investigación principal se basan en el cine como fuente histórica y las películas con temática bélico-colonial. Funcionario de carrera de Enseñanza Secundaria, ha sido miembro y coordinador de varios grupos de trabajo centrados en la utilización del cine como instrumento para la enseñanza y el conocimiento de las Ciencias Sociales. Es profesor titular de Geografía e Historia en un instituto de EE.SS. de Granada.

References

Alberto ELENA: La llamada de África. Estudios sobre el cine colonial español, Barcelona, Edicions Bellaterra, 2010.

Alfonso IGLESIA AMORÍN: “Los intelectuales españoles y a guerra del Rif (1909-1927)”, RUHM, 5 (2014), pp. 59-77.

Alfonso IGLESIAS AMORÍN: “La cultura africanista en el Ejército español (1909-1975)”, Revista de Historia Contemporánea, 15 (2016), pp. 99-122.

Antonio CHECA GODOY, Carmen ESPEJO CALA y Mª José RUÍZ ACOSTA, (coords.): ABC de Sevilla, un diario y una ciudad. Análisis de un modelo de periodismo local, Sevilla, Secretariado de Publicaciones de la Universidad de Sevilla, 2007.

Antonio CORDÓN: Trayectoria. Recuerdos de un artillero, Sevilla, Espuela de Plata / Ministerio de Cultura, 2008.

Carlos, SECO SERRANO:”Valeriano Weyler, modelo de general civilista”, Boletín de la Real Academia de la Historia, 196:3 (1999), pp. 363-420.

Eloy MARTÍN CORRALES: “El cine español y las guerras de Marruecos (1896-1994)”, Hispania, Revista Española de Historia, 190 (1995), pp. 693-708.

Eloy MARTÍN CORRALES: “Un siglo de relaciones hispano-marroquíes en la pantalla (1896-1999)”, en VV.AA.: Memorias del cine: Melilla, Ceuta y el norte de Marruecos, Melilla, Ciudad Autónoma de Melilla, 1999, pp. 9-32.

Francesc A. MARTÍNEZ GALLEGO y Antonio LAGUNA PLATERO: “Comunicación, propaganda y censura en la guerra hispanomarroquí (1906-1923)”, Communication & Society / Comunicación y Sociedad, 3 (2014), pp. 43-63.

Geoffrey JENSEN: Cultura militar española: modernistas, tradicionalistas y liberales, [formato e-book Kindle], Madrid, Biblioteca Nueva, 2014.

Gustau NERÍN: La guerra que vino de África, Barcelona, Crítica, 2005.

Helena DE FELIPE, Leoncio LÓPEZ-OCÓN y Manuela MARÍN (eds.): Ángel Cabrera: ciencia y proyecto colonial en Marruecos, Madrid, Ministerio de Educación y Ciencia / Consejo Superior de Investigaciones Científicas, 2004.

Ignacio HIDALGO DE CISNEROS: Cambio de Rumbo, Vitoria-Gasteiz, Ikusager Ediciones S.A., 2001.

José MILLÁN ASTRAY: La Legión, Madrid, V.H. Sanz Calleja, 1923.

Luis Enrique RUIZ ÁLVAREZ: El cine mudo español en sus películas, Bilbao, Mensajero, 2004.

Luis FERNÁNDEZ COLORADO: “La realidad de la duda. El cine español de propaganda en los albores de la Segunda República”, Cuadernos de Historia Contemporánea, 23 (2001), pp. 125-140.

Luis FERNÁNDEZ COLORADO: “Los expositores del imperio”, en Josep MARÍA CATALÀ, Josetxo CERDÁN y Casimiro TORREIRO, (coords.): Imagen, memoria y fascinación. Notas sobre el documental en España, Madrid, Ocho y medio, 2001, pp. 65-74.

Luys SANTA MARINA: Tras el Águila del César: elegía del Tercio (1921-1922), Barcelona, Editorial Yunque, 1939.

María Luisa ALONSO MOLTANBÁN: Luz para el olvido. De Melilla a Paracuellos (1922-1936). Itinerario del capitán médico Luis María Alonso Alonso, Madrid, de buena tinta, 2014. Formato libro electrónico.

María Rosa DE MADARIAGA: En el Barranco del Lobo. Las guerras de Marruecos, Madrid, Alianza Editorial, 2005.

Palmira GÓNZALEZ LÓPEZ y Joaquín T. CÁNOVAS BELCHI: Catálogo del cine español. Volumen F2. Películas de ficción 1921-1930, Madrid, Filmoteca Española, Ministerio de Cultura, 1993.

Rocío VELASCO DE CASTRO: “De periodistas improvisados a golpistas consumados: el ideario militar africanista de la Revista de Tropas Coloniales (1924-1936)”, El Argonauta español, (2013), https://argonauta.revues.org/1590

Sebastian BALFOUR, Sebastian: Abrazo mortal: De la guerra colonial a la guerra civil en España y Marruecos, Barcelona, Península, 2002.

Susan MARTIN-MÁRQUEZ: Desorientaciones. El colonialismo español en África y la performance de la identidad, Barcelona, Edicions Bellaterra, 2011.

Downloads

Published

2017-06-15

Issue

Vol. 6 No. 11 (2017): Guerra y competencia entre Estados en el Mediterráneo Medieval (siglos XIV-XV)

Section

Estudios

License

Copyright (c) 2017 University Journal of Military History

Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International Public License

By exercising the Licensed Rights (defined below), You accept and agree to be bound by the terms and conditions of this Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International Public License ("Public License"). To the extent this Public License may be interpreted as a contract, You are granted the Licensed Rights in consideration of Your acceptance of these terms and conditions, and the Licensor grants You such rights in consideration of benefits the Licensor receives from making the Licensed Material available under these terms and conditions.

Section 1 – Definitions.

  1. Adapted Material means material subject to Copyright and Similar Rights that is derived from or based upon the Licensed Material and in which the Licensed Material is translated, altered, arranged, transformed, or otherwise modified in a manner requiring permission under the Copyright and Similar Rights held by the Licensor. For purposes of this Public License, where the Licensed Material is a musical work, performance, or sound recording, Adapted Material is always produced where the Licensed Material is synched in timed relation with a moving image.
  2. Copyright and Similar Rights means copyright and/or similar rights closely related to copyright including, without limitation, performance, broadcast, sound recording, and Sui Generis Database Rights, without regard to how the rights are labeled or categorized. For purposes of this Public License, the rights specified in Section 2(b)(1)-(2) are not Copyright and Similar Rights.
  3. Effective Technological Measures means those measures that, in the absence of proper authority, may not be circumvented under laws fulfilling obligations under Article 11 of the WIPO Copyright Treaty adopted on December 20, 1996, and/or similar international agreements.
  4. Exceptions and Limitations means fair use, fair dealing, and/or any other exception or limitation to Copyright and Similar Rights that applies to Your use of the Licensed Material.
  5. Licensed Material means the artistic or literary work, database, or other material to which the Licensor applied this Public License.
  6. Licensed Rights means the rights granted to You subject to the terms and conditions of this Public License, which are limited to all Copyright and Similar Rights that apply to Your use of the Licensed Material and that the Licensor has authority to license.
  7. Licensor means the individual(s) or entity(ies) granting rights under this Public License.
  8. NonCommercial means not primarily intended for or directed towards commercial advantage or monetary compensation. For purposes of this Public License, the exchange of the Licensed Material for other material subject to Copyright and Similar Rights by digital file-sharing or similar means is NonCommercial provided there is no payment of monetary compensation in connection with the exchange.
  9. Share means to provide material to the public by any means or process that requires permission under the Licensed Rights, such as reproduction, public display, public performance, distribution, dissemination, communication, or importation, and to make material available to the public including in ways that members of the public may access the material from a place and at a time individually chosen by them.
  10. Sui Generis Database Rights means rights other than copyright resulting from Directive 96/9/EC of the European Parliament and of the Council of 11 March 1996 on the legal protection of databases, as amended and/or succeeded, as well as other essentially equivalent rights anywhere in the world.
  11. You means the individual or entity exercising the Licensed Rights under this Public License. Your has a corresponding meaning.

Section 2 – Scope.

  1. License grant.
    1. Subject to the terms and conditions of this Public License, the Licensor hereby grants You a worldwide, royalty-free, non-sublicensable, non-exclusive, irrevocable license to exercise the Licensed Rights in the Licensed Material to:
      1. reproduce and Share the Licensed Material, in whole or in part, for NonCommercial purposes only; and
      2. produce and reproduce, but not Share, Adapted Material for NonCommercial purposes only.
    2. Exceptions and Limitations. For the avoidance of doubt, where Exceptions and Limitations apply to Your use, this Public License does not apply, and You do not need to comply with its terms and conditions.
    3. Term. The term of this Public License is specified in Section 6(a).
    4. Media and formats; technical modifications allowed. The Licensor authorizes You to exercise the Licensed Rights in all media and formats whether now known or hereafter created, and to make technical modifications necessary to do so. The Licensor waives and/or agrees not to assert any right or authority to forbid You from making technical modifications necessary to exercise the Licensed Rights, including technical modifications necessary to circumvent Effective Technological Measures. For purposes of this Public License, simply making modifications authorized by this Section 2(a)(4) never produces Adapted Material.
    5. Downstream recipients.
      1. Offer from the Licensor – Licensed Material. Every recipient of the Licensed Material automatically receives an offer from the Licensor to exercise the Licensed Rights under the terms and conditions of this Public License.
      2. No downstream restrictions. You may not offer or impose any additional or different terms or conditions on, or apply any Effective Technological Measures to, the Licensed Material if doing so restricts exercise of the Licensed Rights by any recipient of the Licensed Material.
    6. No endorsement. Nothing in this Public License constitutes or may be construed as permission to assert or imply that You are, or that Your use of the Licensed Material is, connected with, or sponsored, endorsed, or granted official status by, the Licensor or others designated to receive attribution as provided in Section 3(a)(1)(A)(i).

  2. Other rights.

    1. Moral rights, such as the right of integrity, are not licensed under this Public License, nor are publicity, privacy, and/or other similar personality rights; however, to the extent possible, the Licensor waives and/or agrees not to assert any such rights held by the Licensor to the limited extent necessary to allow You to exercise the Licensed Rights, but not otherwise.
    2. Patent and trademark rights are not licensed under this Public License.
    3. To the extent possible, the Licensor waives any right to collect royalties from You for the exercise of the Licensed Rights, whether directly or through a collecting society under any voluntary or waivable statutory or compulsory licensing scheme. In all other cases the Licensor expressly reserves any right to collect such royalties, including when the Licensed Material is used other than for NonCommercial purposes.

Section 3 – License Conditions.

Your exercise of the Licensed Rights is expressly made subject to the following conditions.

  1. Attribution.

    1. If You Share the Licensed Material, You must:

      1. retain the following if it is supplied by the Licensor with the Licensed Material:
        1. identification of the creator(s) of the Licensed Material and any others designated to receive attribution, in any reasonable manner requested by the Licensor (including by pseudonym if designated);
        2. a copyright notice;
        3. a notice that refers to this Public License;
        4. a notice that refers to the disclaimer of warranties;
        5. a URI or hyperlink to the Licensed Material to the extent reasonably practicable;
      2. indicate if You modified the Licensed Material and retain an indication of any previous modifications; and
      3. indicate the Licensed Material is licensed under this Public License, and include the text of, or the URI or hyperlink to, this Public License.
      For the avoidance of doubt, You do not have permission under this Public License to Share Adapted Material.
    2. You may satisfy the conditions in Section 3(a)(1) in any reasonable manner based on the medium, means, and context in which You Share the Licensed Material. For example, it may be reasonable to satisfy the conditions by providing a URI or hyperlink to a resource that includes the required information.
    3. If requested by the Licensor, You must remove any of the information required by Section 3(a)(1)(A) to the extent reasonably practicable.

Section 4 – Sui Generis Database Rights.

Where the Licensed Rights include Sui Generis Database Rights that apply to Your use of the Licensed Material:

  1. for the avoidance of doubt, Section 2(a)(1) grants You the right to extract, reuse, reproduce, and Share all or a substantial portion of the contents of the database for NonCommercial purposes only and provided You do not Share Adapted Material;
  2. if You include all or a substantial portion of the database contents in a database in which You have Sui Generis Database Rights, then the database in which You have Sui Generis Database Rights (but not its individual contents) is Adapted Material; and
  3. You must comply with the conditions in Section 3(a) if You Share all or a substantial portion of the contents of the database.

For the avoidance of doubt, this Section 4supplements and does not replace Your obligations under this Public License where the Licensed Rights include other Copyright and Similar Rights.

Section 5 – Disclaimer of Warranties and Limitation of Liability.

  1. Unless otherwise separately undertaken by the Licensor, to the extent possible, the Licensor offers the Licensed Material as-is and as-available, and makes no representations or warranties of any kind concerning the Licensed Material, whether express, implied, statutory, or other. This includes, without limitation, warranties of title, merchantability, fitness for a particular purpose, non-infringement, absence of latent or other defects, accuracy, or the presence or absence of errors, whether or not known or discoverable. Where disclaimers of warranties are not allowed in full or in part, this disclaimer may not apply to You.
  2. To the extent possible, in no event will the Licensor be liable to You on any legal theory (including, without limitation, negligence) or otherwise for any direct, special, indirect, incidental, consequential, punitive, exemplary, or other losses, costs, expenses, or damages arising out of this Public License or use of the Licensed Material, even if the Licensor has been advised of the possibility of such losses, costs, expenses, or damages. Where a limitation of liability is not allowed in full or in part, this limitation may not apply to You.
  1. The disclaimer of warranties and limitation of liability provided above shall be interpreted in a manner that, to the extent possible, most closely approximates an absolute disclaimer and waiver of all liability.

Section 6 – Term and Termination.

  1. This Public License applies for the term of the Copyright and Similar Rights licensed here. However, if You fail to comply with this Public License, then Your rights under this Public License terminate automatically.

  2. Where Your right to use the Licensed Material has terminated under Section 6(a), it reinstates:

    1. automatically as of the date the violation is cured, provided it is cured within 30 days of Your discovery of the violation; or
    2. upon express reinstatement by the Licensor.
    For the avoidance of doubt, this Section 6(b) does not affect any right the Licensor may have to seek remedies for Your violations of this Public License.
  3. For the avoidance of doubt, the Licensor may also offer the Licensed Material under separate terms or conditions or stop distributing the Licensed Material at any time; however, doing so will not terminate this Public License.
  4. Sections 1, 5, 6, 7, and 8 survive termination of this Public License.

Section 7 – Other Terms and Conditions.

  1. The Licensor shall not be bound by any additional or different terms or conditions communicated by You unless expressly agreed.
  2. Any arrangements, understandings, or agreements regarding the Licensed Material not stated herein are separate from and independent of the terms and conditions of this Public License.

Section 8 – Interpretation.

  1. For the avoidance of doubt, this Public License does not, and shall not be interpreted to, reduce, limit, restrict, or impose conditions on any use of the Licensed Material that could lawfully be made without permission under this Public License.
  2. To the extent possible, if any provision of this Public License is deemed unenforceable, it shall be automatically reformed to the minimum extent necessary to make it enforceable. If the provision cannot be reformed, it shall be severed from this Public License without affecting the enforceability of the remaining terms and conditions.
  3. No term or condition of this Public License will be waived and no failure to comply consented to unless expressly agreed to by the Licensor.
  4. Nothing in this Public License constitutes or may be interpreted as a limitation upon, or waiver of, any privileges and immunities that apply to the Licensor or You, including from the legal processes of any jurisdiction or authority.

Creative Commons is not a party to its public licenses. Notwithstanding, Creative Commons may elect to apply one of its public licenses to material it publishes and in those instances will be considered the “Licensor.” The text of the Creative Commons public licenses is dedicated to the public domain under the CC0 Public Domain Dedication. Except for the limited purpose of indicating that material is shared under a Creative Commons public license or as otherwise permitted by the Creative Commons policies published at creativecommons.org/policies, Creative Commons does not authorize the use of the trademark “Creative Commons” or any other trademark or logo of Creative Commons without its prior written consent including, without limitation, in connection with any unauthorized modifications to any of its public licenses or any other arrangements, understandings, or agreements concerning use of licensed material. For the avoidance of doubt, this paragraph does not form part of the public licenses.

Creative Commons may be contacted at creativecommons.org.

How to Cite

The film La Malcasada as an example of repercussion of Africanistas soldiers’ stereotyped image in mass media. (2017). Revista Universitaria De Historia Militar, 6(11), 217-238. https://doi.org/10.53351/ruhm.v6i11.248

Similar Articles

51-60 of 560

You may also start an advanced similarity search for this article.