{"id":44862,"date":"2022-11-15T10:39:02","date_gmt":"2022-11-15T09:39:02","guid":{"rendered":"https:\/\/artxiboa.sansebastianfestival.com\/documento-del-mes\/"},"modified":"2026-10-15T10:59:08","modified_gmt":"2026-10-15T08:59:08","slug":"document-of-the-month","status":"publish","type":"page","link":"https:\/\/artxiboa.sansebastianfestival.com\/en\/digital-collections\/document-of-the-month\/","title":{"rendered":"Document of the month"},"content":{"rendered":"\t\t
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Under the title La pesadilla roja<\/em>, in 1996 the San Sebasti\u00e1n Festival launched a season with the aim of re-examining anti-Communist discourse in the cinema. The proposal was grouped into two programmes focused on different film-making spheres; two nightmares, painted in the same colour. One, that of senator McCarthy<\/em><\/a>, <\/em>pondered on films in the United States during the Cold War. While the other, that of General Franco<\/em>, turned its sights, sixty years after the start of the Civil War, on the part of Spanish film production made during Franco\u2019s dictatorship. \u201cAll periods build their ruins and coexist with their own obsolescence\u201d opened the prologue by Manuel V\u00e1zquez Montalb\u00e1n in the book written by the critic Carlos F. Heredero to accompany the programme centred on Spain. With these words, he drew the analytical lines of the proposal: ruins and obsolescence, history and present day. \u00a0<\/em><\/p>\n

The programme dedicated to anti-Communist cinema produced during the Franco era was made up of ten films. Rafael Gil, who had been, ironically, winner of the first best feature film accolade in the history of the Festival at its 1953 edition, was the director to boast the presence of most films: La se\u00f1ora de F\u00e1tima<\/em> (Our Lady of Fatima<\/em>, <\/em>1951), in which threeshepherd children are surprised by the apparitions of an Our Lady with obvious anti-Communist overtones; Muri\u00f3 hace quince a\u00f1os <\/em>(He Died Fifteen Years Ago, <\/em>1954), a melodrama on the life of a Spanish man educated in the Soviet Union as a child and his return to Spain to fulfil a complex political mission; and El canto del gallo <\/em>(1955), about the fears of a priest persecuted in a country governed by Communism. Also showing in the season were the films Rojo y negro <\/em>(1942) and Raza <\/em>(1941), the only two on the programme to have been made in the 40s. The former, directed by Carlos Ar\u00e9valo and despite its obvious phalangist manufacture, had been banned by the Franco regime three weeks after its release for taking a somewhat humanised approach towards its republican protagonist, and was discovered and restored by the Filmoteca Espa\u00f1ola in 1996. The latter, written by General Franco himself and directed by Jos\u00e9 Luis S\u00e1enz de Heredia, had returned to the period\u2019s model of patriotic national cinema. At a round table on the season<\/a>, F. Heredero identified in these works two of the regime\u2019s ideological myths: the liberating struggle of the Francoist hordes and that of the rich place threatened by the foreign enemy. The images, governed by the viewpoint of the dictatorship, had been an essential instrument for shaping an own reality.<\/p>\n

\u201cEverything built in the Franco years was born as material or spiritual ruin, no matter whether it occurred in the sphere of politics, or of culture because, like in all totalitarian systems, Franquismo endeavoured to operate an ubiquitous strategy of behaviour that supplanted any suggestion of memory and any suggestion of desire\u201d continued V\u00e1zquez Montalb\u00e1n in his prologue. The poster for the season, preserved by Artxiboa, illustrates the idea. \u201cLa pesadilla roja\u201d <\/em>(\u201cThe Red Nightmare\u201d) in scarlet letters, centre of the drawing and of the season, stands out from the background due to its angle and shading. Underneath, \u201cDel general Franco\u201d <\/em>(\u201cof General Franco\u201d) in lower case and in white, expression in Spain of a common ghost for the dictatorial regimes of the 20th century. And relegated to the lower corner of the poster, a couple look to the left with terror in their eyes: out of sight, danger lurks.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Poster of the “General Franco’s Red Nightmare” retrospective<\/div>\n
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ID:<\/span> 30791<\/span><\/div>\n
Catalogue number:<\/span> K009T<\/span><\/div>\n
Location:<\/span> A.01 K.02<\/span><\/div>\n
Title:<\/span> Poster of the “General Franco’s Red Nightmare” retrospective<\/span><\/div>\n
Date:<\/span> 1996<\/span><\/div>\n
Level of description:<\/span> Simple documentary unit<\/span><\/div>\n<\/div>\n<\/div>\n

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Producer:<\/span> San Sebastian International Film Festival<\/span><\/div>\n
Author:<\/span> Art&Ma\u00f1a<\/span><\/div>\n
Printer:<\/span> Lit. Danona S. Coop.<\/span><\/div>\n<\/div>\n<\/div>\n

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Conditions governing access:<\/span> Conditions governing access<\/a><\/span><\/div>\n
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Preservation:<\/span> Andrea S\u00e1nchez, Lorena Soria<\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Poster of the “General Franco’s Red Nightmare” retrospective (1996). San Sebastian Festival Archive. [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/div><\/div><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Fifth issue of the 24th edition of the Festival (1976) San Sebastian Festival Archive [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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Press clipping from La Voz de Espa\u00f1a reporting on the first Film Forum session in San Sebasti\u00e1n (1954) San Sebastian Festival Archive<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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Outline for the creation of film culture groups proposed by Carlos Mar\u00eda Staehlin for the film studies course (1957) San Sebastian Festival Archive<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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Postcard sent from Moscow by the Festival\u2019s General Secretary, Pilar Olascoaga (1989) San Sebastian Festival Archive. [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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The actress and singer Lola Flores receiving a trophy after attending the pigeon shooting (1954) San Sebastian Festival Archive. [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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Letter of refusal from director and actor Hans Alfredson to participate in the Festival following the death sentences of Antonio Garmendia and Angel Otaegui (1975) San Sebastian Festival Archive. [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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Internal programming document relating to the retrospectives “Volver a nacer” and “Harry d’Abbadie d’Arrast” (1990) San Sebastian Festival Archive. [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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Interview with the competition organisers prior to the 16th edition in 1968 (1968) San Sebastian Festival Archive. [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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Fifth issue of the 38th edition of the Festival (1990) San Sebastian Festival Archive [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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Official poster of the 7th edition (1959). San Sebastian Festival Archive. [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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Letter from Luis Gasca to Jorge Luis Borges on the occasion of his participation in the round table discussion \u2018Latin American Literature and Cinema\u2019 (1981) San Sebastian Festival Archive. [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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Poster of the “Chile” retrospective (1987). San Sebastian Festival Archive. [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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Actress Gina Lollobrigida presenting the San Sebastian Award for Best Female Performance to the distributor Procinor for “A Woman Under the Influence” (1975) San Sebastian Festival Archive. [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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The actress Josefa Flores Gonz\u00e1lez, better known as Marisol or Pepa Flores, at the Hotel Mar\u00eda Cristina (1960) San Sebastian Festival Archive. [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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Anne Bancroft at the Victoria Eugenia Theatre’s boxes entrance during the presentation of the film “The Miracle Worker” (Arthur Penn) (1962) San Sebastian Festival Archive. [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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Letter from Nelly Kaplan to Francisco Ferrer on the invitation to the festival (1962) San Sebastian Festival Archive. [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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Handwritten thank you note from Ren\u00e9 Clair (1959) San Sebastian Festival Archive. [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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First issue of the 25th edition of the Festival (1977) San Sebastian Festival Archive [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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Portrait of director Valeria Sarmiento (1988) San Sebastian Festival Archive. [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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Fax from Abbas Kiarostami to Diego Gal\u00e1n (1996) San Sebastian Festival Archive. [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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Letter from Nicholas Ray to Joaqu\u00edn Zabala (1965) San Sebastian Festival Archive. [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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Regulations of the II Cartago International Film Festival (1968) San Sebastian Festival Archive. [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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Letter from Josefina Molina to the Festival organisers (1978) San Sebastian Festival Archive [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div>

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Letter from Diego Gal\u00e1n to film director Jafar Panahi (1998) San Sebastian Festival Archive. [+]<\/a><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<\/a><\/div><\/div><\/div>

<\/div><\/div><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

July 2023. Letter from Alfredo Guevara, Vice Minister of the Ministry of Culture of Cuba and founder of ICAIC, to Luis Gasca, Secretary General of the Festival<\/p>\n","protected":false},"author":1,"featured_media":53132,"parent":45048,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"footnotes":""},"class_list":["post-44862","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\nDocument of the month - Artxiboa<\/title>\n<meta name=\"description\" content=\"Poster of the II Cinematographic Training Week\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/artxiboa.sansebastianfestival.com\/en\/digital-collections\/document-of-the-month\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Document of the month\" \/>\n<meta property=\"og:description\" content=\"January 2023 - 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