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Foundational Landscapes : = Visuality and Regimes of Historicity in Francoist Spain.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Foundational Landscapes :/
其他題名:	Visuality and Regimes of Historicity in Francoist Spain.
作者:	Zamora Gomez, Felix.
面頁冊數:	1 online resource (237 pages)
附註:	Source: Dissertations Abstracts International, Volume: 85-03, Section: A.
Contained By:	Dissertations Abstracts International85-03A.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30748153click for full text (PQDT)
ISBN:	9798380371988

Foundational Landscapes : = Visuality and Regimes of Historicity in Francoist Spain.
Zamora Gomez, Felix.

Foundational Landscapes :Visuality and Regimes of Historicity in Francoist Spain. - 1 online resource (237 pages)

Source: Dissertations Abstracts International, Volume: 85-03, Section: A.

Thesis (Ph.D.)--University of Michigan, 2023.

Includes bibliographical references

This dissertation traces the ways in which the Francoist dictatorship (1939-1975) mediated its relationship with history through visual culture. Through a broad approach to visual culture that includes architecture, museum culture, film, television, and the visual arts, this project explores the ways in which the materials studied aided in producing what Francois Hartog defines as "regimes of historicity" to define the articulation of the relationship between past, present, and future. This dissertation is organized following the traditional historical periodization of the dictatorship and each chapter is treated as a specific "regime of historicity." The first chapter analyzes the magazine Reconstruction, various documentaries directed by the Marques de Villa-Alcazar, and the architectural thought of the time as the elements that conceptually sustained the process of national reconstruction during the post-war (1940s and 1950s). The second chapter focuses on the celebration in 1964 of the XXV anos de paz during the years of economic development in the 1960s with a particular focus on the exhibitions Espana 64, Espana en paz, the Spanish Pavilion in the New York World's Fair, and the film Franco, ese hombre. The third and final chapter studies the connection between the later years of Francoism and Spain's transition to democracy in the 1970s through the analysis of the TV show La transicion and the work TVE: Primer intento by artist Antoni Muntadas.I analyze the role of these materials in the articulation of these three different regimes of historicity through a critical study of their visuality. My approach to the notion of visuality is informed by Nicholas Mirzoeff's and Georges Didi-Huberman's conceptualizations of visuality as a critical tool that complicates the relationship between visual representation and power. As such, this approach is an effort to move away from an alleged mimetic relation between image and ideology and instead focus on the disjunctions that exist between visual culture, historical discourse, and Francoist ideology. Although this dissertation is rigorously historical, this project points at the limitations of these periodic divisions in accounting for the conceptual networks that exists at the heart of these regimes of historicity. This project is explicitly interested in bridging history and the study of visual culture beyond the approaches traditionally employed in art history, with the goal of broadening our understanding of Francoism and the ways in which the dictatorship constituted a conceptual framework to portray the past, create a sense of the present, and imagine the future in Spain.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798380371988Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

VisualityIndex Terms--Genre/Form:

542853
Electronic books.

Foundational Landscapes : = Visuality and Regimes of Historicity in Francoist Spain.
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520 $a This dissertation traces the ways in which the Francoist dictatorship (1939-1975) mediated its relationship with history through visual culture. Through a broad approach to visual culture that includes architecture, museum culture, film, television, and the visual arts, this project explores the ways in which the materials studied aided in producing what Francois Hartog defines as "regimes of historicity" to define the articulation of the relationship between past, present, and future. This dissertation is organized following the traditional historical periodization of the dictatorship and each chapter is treated as a specific "regime of historicity." The first chapter analyzes the magazine Reconstruction, various documentaries directed by the Marques de Villa-Alcazar, and the architectural thought of the time as the elements that conceptually sustained the process of national reconstruction during the post-war (1940s and 1950s). The second chapter focuses on the celebration in 1964 of the XXV anos de paz during the years of economic development in the 1960s with a particular focus on the exhibitions Espana 64, Espana en paz, the Spanish Pavilion in the New York World's Fair, and the film Franco, ese hombre. The third and final chapter studies the connection between the later years of Francoism and Spain's transition to democracy in the 1970s through the analysis of the TV show La transicion and the work TVE: Primer intento by artist Antoni Muntadas.I analyze the role of these materials in the articulation of these three different regimes of historicity through a critical study of their visuality. My approach to the notion of visuality is informed by Nicholas Mirzoeff's and Georges Didi-Huberman's conceptualizations of visuality as a critical tool that complicates the relationship between visual representation and power. As such, this approach is an effort to move away from an alleged mimetic relation between image and ideology and instead focus on the disjunctions that exist between visual culture, historical discourse, and Francoist ideology. Although this dissertation is rigorously historical, this project points at the limitations of these periodic divisions in accounting for the conceptual networks that exists at the heart of these regimes of historicity. This project is explicitly interested in bridging history and the study of visual culture beyond the approaches traditionally employed in art history, with the goal of broadening our understanding of Francoism and the ways in which the dictatorship constituted a conceptual framework to portray the past, create a sense of the present, and imagine the future in Spain.
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