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Satanic rituals in Spanish horror films and the Franco dictatorship

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2023

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Edinburgh University Press
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Tiburcio, E. (2023). Satanic rituals in Spanish horror films and the Franco dictatorship. Cultural History, 12(2), 251-271. https://doi.org/10.3366/CULT.2023.0289

Abstract

Spanish horror films set in the late Franco period are a highly successful genre. However, academics have criticised its study, arguing that such films are of low quality. Nevertheless, the genre is a fundamental cultural source for understanding how fiction interacts with a society’s fears as it undergoes a profound transformation. This article aims to analyse the ways rituals were represented as allegorical figures of the anxieties and conflicts in the final years of Francisco Franco’s dictatorship (1968–1975). On the one hand, we will examine the three main discourses that were instrumental to the founding of monstrous cults based on gender, class and nationalism. On the other hand, we will analyse the intermingling of political violence and modernisation through the performance of rituals. Satanic rituals served as visual metaphors for a reality constructed from the Manichaean vision of Catholicism and the exclusionary nationalism of Francoism imposed through political violence.

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Johnson (transl.), Mirabilia, no. 21 (2015), pp. 445–81. • Lázaro-Reboll, Spanish Horror Film, p. 92. • Georges Bataille states that Gilles de Rais was a childish nobleman who was raised with the idea that war was a game and a privilege to which only nobles were entitled. When he is deprived of this, the torture and murder of children becomes a form of continuing the world in which he was nurtured. Georges Bataille, El verdadero Barbazul: La tragedia de Gilles de Rais, Carlos Manzano (transl.) (Barcelona: Tusquets, 1972). • Julián Casanova and Carlos Gil Andrés, Twentieth-Century Spain: A History (Cambridge: Cambridge University Press, 2014), p. 244. • Carme Molinero and Pere Ysàs, ‘Una larga etapa de crecimiento económico’, in Jesús A. Martínez (ed.), Historia de España: Siglo XX; 1939–1996 (Madrid: Cátedra, 1999), pp. 172–82 (179). • In El retorno de Walpurgis, there are two black Masses. In the second one, sacrifice is offered through sexual acts with a demon. • Adam Scovell states that folk horror links landscape with alternative beliefs and explores uncanniness, turning the countryside into a hostile, dangerous territory. Adam Scovell, Folk Horror: Hours Dreadful and Things Strange (Leighton Buzzard, UK: Auteur, 2017), pp. 35–8. • Jesús Cruz, ‘Ways of Life: Cities, Towns, and Villages’, in Adrian Shubert and José Álvarez Junco (eds), The History of Modern Spain: Chronologies, Themes, Individuals (London: Bloomsbury, 2019), pp. 180–94 (191–3). • See Jordi Gracia and Miguel Ángel Ruiz Carnicer, La España de Franco (1939–1975): Cultura y vida cotidiana (Madrid: Síntesis, 2004), Kindle edition; and Gloria Román Ruiz, ‘“Guardianes de la tradición”: Resistencias al cambio político y socio-cultural del tardofranquismo y la Transición en Andalucía oriental’, Hispania Nova: Primera Revista de Historia Contemporánea on-line en castellano. Segunda época., no. 18 (2020), pp. 344–72, https://doi.org/10.20318/hn.2020.5108. • España negra refers to a negative vision that regards poverty, backwardness, super-stition and ignorance as inherent problems of the country. Indeed, high illiteracy, poor sanitary conditions and the overwhelming presence of Catholicism featured contemporary Spain as underdeveloped. Before European rationalism, violence and brutality seemed to permeate social relations in Spain. Francisco de Goya showed this idea in his Black Paintings, and other artists, like José Gutiérrez-Solana, offered complementary visions. See Darío de Regoyos and Émile Verhaeren, España Negra (Zaragoza: Lecturas Hispánicas, 2015); and José Gutiérrez-Solana, La España Negra (Granada: Comares, 2000). • Nicholas G. 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See Mary Nash, ‘Resistencias e identidades colectivas: El despertar feminista durante el tardofran-quismo en Barcelona’, in Mary Nash (ed.), Represión, resistencias, memoria: Las mujeres bajo la dictadura franquista (Granada: Comares, 2013), pp. 139–58; and Mercedes Arbaiza, ‘Dones en Transició: El feminismo como acontecimiento emocional’, in Teresa M. Ortega López et al. (eds), Mujeres, Dones, Mulleres, Emakumeak: Estudios sobre la historia de las mujeres y del género (Madrid: Anaya, 2019), pp. 267–86. • Alexandra Heller-Nicholas, ‘The Power of Christ Compels You: Moral Spectacle and the Exorcist Universe’, in Regina Hansen (ed.), Roman Catholicism in Fantastic Film (Jefferson, NC: McFarland, 2011), Kindle edition, ch. 5. • The dualistic Western world view imposed a cultural hierarchy in which non-European peoples and values were considered primitive, savage and backward. 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(Austin, TX: University of Texas Press, 2015), pp. 68–115 (98). • Morcillo, En cuerpo y en alma, p. 111. • Mónica Moreno Seco, ‘La dictadura franquista y la represión de las mujeres’, in Nash, Represión, resistencias, memoria, pp. 1–21 (4). • Carmen Guillén Lorente, ‘Adoctrinamiento moral durante el franquismo: Un estudio comparado de los centros del patronato de protección a la mujer en Segovia y Sevilla’, Historia Actual Online, no. 52 (2020), pp. 57–70 (60–1), https://doi.org/10.36132/hao.v2i52.1899. • Rincón, Representaciones de género, pp. 226–7. • Creed, Monstrous-Feminine, p. 42. • Andy Willis, ‘Paul Naschy, Exorcismo and the Reactionary Horror of Spanish Popular Cinema in the early 1970s’, in Patricia Allmer et al. (eds), European Nightmares: Horror Cinema in Europe since 1945 (London: Wallflower, 2012), pp. 121–30 (128).

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