Duncan Wheeler
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The regulation of cultural production during and after Manuel Fraga (1962–75)
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There is an expanding body of scholarship that alternates between two dominant visions of the Francoist censor: the ubiquitous and draconian fascist oppressor, and the easily hoodwinked bureaucratic buffoon. This chapter charts evolving systems of control during the final thirteen years of Francoism, whilst seeking both to situate and to deconstruct the academic field of censorship in the Spanish context. The principal hypothesis is that repression often resides more in the constant possibility of recrimination than in specific examples of prohibition, and that there is a pressing need to go beyond the routine practice of cataloguing case-studies to become more self-reflective about what is at stake in the relationship between narrating censorial practices and the development of canonical accounts of the Transition. The regulation of a broad range of media (popular music, theatre, cinema, bullfighting, the press) is covered to suggest that, against a backdrop of increased liberalisation, greater control was exercised on depictions of poverty as well as social injustices and inequalities.

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Following Franco

Spanish culture and politics in transition, 1962–92


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