Hollywood and the Spanish Civil War: The Hidden Anti-Fascist Ideology of Love Under Fire (1937).
When the Spanish Civil War (1936–1939) began, Hollywood immediately rushed to create screenplays about the conflict. However, only three fiction films were made during the course of the war: The Last Train From Madrid (James Hogan, Paramount Pictures, 1937), Love Under Fire (George Marshall, Twentie...
| Publicado en: | Historical Journal of Film, Radio & Television Vol. 43; no. 3; pp. 685 - 705 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Sep2023
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=169951979&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 169951979 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01439685 HFT jtl: Historical Journal of Film, Radio & Television issn: 01439685 maglogo: N pubinfo: dt: Sep2023 vid: 43 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 169951979 10.1080/01439685.2023.2173376 ppf: 685 ppct: 20 formats: fmt: – @attributes: type: T – @attributes: type: P size: 216KB tig: atl: Hollywood and the Spanish Civil War: The Hidden Anti-Fascist Ideology of Love Under Fire (1937). aug: au: Guiralt, Carmen su: Spanish Civil War, 1936-1939 Ideology War Archival materials sug: subj: Spanish Civil War, 1936-1939 Ideology War Archival materials ab: When the Spanish Civil War (1936–1939) began, Hollywood immediately rushed to create screenplays about the conflict. However, only three fiction films were made during the course of the war: The Last Train From Madrid (James Hogan, Paramount Pictures, 1937), Love Under Fire (George Marshall, Twentieth Century-Fox, 1937) and Blockade (William Dieterle, Walter Wanger/United Artists, 1938). This article examines Love Under Fire, a production that has scarcely been studied and which remains commercially unavailable. The research has made it possible to establish that, despite its appearance as an inoffensive film that adheres to the Hays Office guidelines of impartiality, Love Under Fire is neither apolitical nor neutral, but has an anti-Franco, anti-Fascist and anti-Nazi ideological subtext. In fact, archival material from the MPAA/PCA Records reveals that the film was deliberately conceived from the outset to be anti-Axis powers. Finally, the article endeavours to explain why a commercial Hollywood production company persisted in its efforts to infiltrate this ideology into the film, at the risk of undermining its box-office performance, and will demonstrate that this was due to the overwhelming mass rejection of The Siege of the Alcazar, a frustrated personal project of Darryl F. Zanuck, which was to be produced by the same company and had a completely opposite ideology. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Historical Journal of Film, Radio & Television is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Historical Journal of Film, Radio & Television holder: Taylor & Francis Ltd dt: @attributes: year: 2023 holdings: @attributes: islocal: N |
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