A debate over remaining Francoist symbols - mostly monuments and street names - quickly ensued. In its second term of government (2000-2004), Prime Minister José María Aznar and his way of resolving government affairs were, on many occasions, referred to as “Francoist” by speakers of the main opposition parties and by members of the cultural intelligentsia. 5 The new interest in Francoism, however, was not only retroactive, it also played on contemporary political controversies. 4 No doubt sensationalism and marketing playing a part in it, as with most cultural productions, but it is also true that a thorough coming to terms with the dictatorial past was avoided during the transition to democracy between 19. A whole avalanche of journalistic and academic publications on Francoist matters have appeared in the last five years, bringing to light some of the less well known or forgotten topics related to Francoism such as forced labour, mass graves, and post-war repression. Yet in these years, Francoism as a cinematic subject seemed to fall out of favor.įrom the year 2000 on, however, it is possible - and necessary - to speak of a revival of both a renewed interest in “Francoism” as well as of a retroactive “Anti-Francoism” after Franco. The number of cinema goers doubled, creating an industry somewhat more independent from state subsidies. From this point onward, new and more popular subjects became the focus of the industry’s attention, intended mainly for a younger audience that had come of age in the new democracy. While the 1980s and early 1990s were productive in delivering interesting visions of Francoism on the screen, Spanish cinema really broke its “sound barrier” as a prosperous cultural industry in the mid-1990s. This artwork comes from Jordi David Redo’s private collection and has been specially selected by himself to present to Corner4art.Since Franco’s death in November 1975, the man, his Civil War, and his regime have been a major topic in well over a hundred Spanish movies that deal with a diverse set of motifs and discourses. Some of these pieces (like the “Little Hiawatha” adventures) were also published in the German “Micky Maus” magazine. Jordi David collaborated in the Danish “Donald Duck”magazine for thirty years, illustrating numerous stories and well known Disney characters, from Mickey Mouse to Little Hiawatha. In the early 1980s, Sanchís also set up another studio where he worked for the German comic series “Fix and Foxy” and for “Disney” publishing in Denmark (Gutenberghus/Egmont Group). At that time, Redo created numerous adventures, including “La historia del dinero” (Bruguera 1980). He was chosen by Sanchís to take part of the Mortadelos drawing producers team. Later, he created the series “Pillo y Bollo” (published in “Sacarino” and “Super Sacarino” magazines) and “Rufo” (“Mortadelo” magazine). Vázquez chose him as an inker and his two first published pages were Mortadelo and Pulgarcito in 2075 magazine (1971). With him, he learned to ink and eventually started working for the same book publisher. This original artwork was created by Jordi David Redo, a Spanish cartoonist who began working as an apprentice in an advertising agency, where he met Mingo (Domingo Correa Expósito), a regular collaborator of Editorial Bruguera. Original page of Mortadelo y Filemon’s “Star Wars” story created by Spanish comics artist Jordi David Redo
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