Franco Sells Spain To America

A groundbreaking study of the Franco regime's utilization of Hollywood film production in Spain, American tourism, and sophisticated public relations programs - including the most popular national pavilion at the 1964-65 New York World's Fair - in a determined effort to remake the Spanish dictatorship's post-World War II reputation in the US.

Buying into Change examines how the development of a mass consumer society under the dictatorship of General Francisco Franco (1939–1975) inserted Spain into transnational consumer networks and set the stage for Spain’s transition to democracy during the late 1970s. This transition is broadly significant to both a Spanish public still struggling to redefine their society after Franco and to scholars who have long debated the origins of Spain’s current democracy, yet many aspects of it remain largely unexamined. Buying into Change incorporates mass consumption into our understanding of Spain’s democratic transition by tracing the spread and social impact of new foreign-influenced department stores, of imported innovations such as modern mass advertising, and of consumer magazines that promoted foreign products. Initially, these enterprises backed Franco’s conservative policies, and the regime in turn encouraged consumption in order to improve its image both domestically and abroad. Spain’s new globally oriented commerce ultimately sold retailers and shoppers not just foreign ways of buying and selling but also subversive ideas. Imported 1960s fashions brought along countercultural notions on issues such as gender equality. And as Spaniards consumed more like their foreign neighbors, they increasingly viewed themselves as cosmopolitan and European and identified with liberal political conditions abroad, undermining Francoism’s doctrine of national exceptionalism, thus laying the social foundations for democratization and European integration in Franco’s wake.

When the post-war relationship between Spain and America began, Hitler's old ally was an unlikely candidate for US influence. The Cold War changed all this. Soon there were US bases on Spanish territory and a political conjuring trick was under way. This volume examines the public diplomacy strategies that the US government employed to accomplish an almost impossible mission: to keep a warm relationship with a tyrant without drifting apart from his opponents, and to somehow pave the way for a transition to democracy. The book's focus on the perspective of soft power breaks new ground in understanding US-Spanish relations. In so doing, it offers valuable lessons for understanding how public diplomacy has functioned in the past and can function today and tomorrow in transitions to democracy.

The Antifascist Chronicles of Aurelio Pego: A Critical Anthology collects and contextualizes Pego’s 118 literary chronicles published between 1940 and 1967 in the periodical España Libre, New York. The satire of this household name in the US Spanish-language press lambasted Fascist Spain, lampooned American diplomatic relations with Francisco Franco, and mocked the Spanish exiles’ unsuccessful efforts to liberate Spain from the dictator. Pego’s journalism showed deep dedication to the public good with his publication of uncensored information about the regime that alerted readers of the civil rights infringements in Fascist Spain. However, Pego delivered the hard truths of Fascist Spain cloaked in mockery. Humor was crucial in this political culture not only because it facilitated communicating Spanish news but also avoided mythical and totalitarian rhetorical resistance. The fragility of the alternative periodicals’ paper and the political persecution against dissident voices has caused that much of this antifascist print culture has been lost. However, Pego’s chronicles prove that US Hispanic antifascism was vibrant. The anthology puts forward the understudied work of antifascists in the United States and provides evidence of their activism. Its preservation is an exercise of collective memory and a place of resistance to an elitist and fascist archive.

General Francisco Franco came to prominence during the days of David Lloyd George and Woodrow Wilson and was able to cling to absolute political power until his death in 1975. Over his fifty-year career, he became one of the four dictators who changed the face of Europe during the twentieth century. Franco joined the Spanish Army when he was barely fifteen years old. In 1926 he became the youngest general in Europe and, driven by an astonishing sense of his own greatness, was recognized as sole military commander of the Nationalist zone during the Spanish Civil War. His ambition was always to hold on to the power that he had secured. In practice, this meant winning the Spanish Civil War and surviving the fall of the fascist regimes of Hitler and Mussolini and the international isolation that followed their defeat. But behind the military heroics and dexterous political footwork lay an insecure and vengeful man, wracked by contradictory impulses. Although fueled by a single-minded determination to succeed, he was full of self-doubt. A bold and sometimes inspirational soldier in Africa, he became an indecisive, hesitant military commander during the Civil War. Filled with a burning conviction that his destiny was bound up with the medieval kings of Spain and God Himself, he appeared shy, withdrawn, and humble. Ruthlessly intent on wiping out all political opposition, he denied heatedly that he was a dictator. A stubborn man, he could be remarkably flexible when it came to safeguarding his power. Gabrielle Ashford Hodges' psychological biography considers Franco's mental state, as well as his political motivation. In doing so, it succeeds admirably in getting under the skin of Europe's most enduring dictator.

How did flamenco—a song and dance form associated with both a despised ethnic minority in Spain and a region frequently derided by Spaniards—become so inexorably tied to the country’s culture? Sandie Holguín focuses on the history of the form and how reactions to the performances transformed from disgust to reverance over the course of two centuries. Holguín brings forth an important interplay between regional nationalists and image makers actively involved in building a tourist industry. Soon they realized flamenco performances could be turned into a folkloric attraction that could stimulate the economy. Tourists and Spaniards alike began to cultivate flamenco as a representation of the country's national identity. This study reveals not only how Spain designed and promoted its own symbol but also how this cultural form took on a life of its own.

Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945-1990 is one of two text anthologies that trace the reception of American art in Europe during the Cold War era through primary sources. Translated into English for the first time from sixteen languages and introduced by scholarly essays, the texts in this volume offer a representative selection of the diverse responses to American art in Portugal, Italy, Spain, Greece, Yugoslavia, Romania, Bulgaria, Soviet Union (including the Baltic States), Czechoslovakia, Poland, Hungary, and East Germany (GDR). There was no single European discourse, as attitudes to American art were determined by a wide range of ideological, political, social, cultural and artistic positions that varied considerably across the European nations. This volume and its companion, Hot Art, Cold War – Northern and Western European Writing on American Art 1945-1990, offer the reader a unique opportunity to compare how European art writers introduced and explained contemporary American art to their many and varied audiences. Whilst many are fluent in one or two foreign languages, few are able to read all twenty-five languages represented in the two volumes. These ground-breaking publications significantly enrich the fields of American art studies and European art criticism.