ABSTRACT

In the same moment that the Spanish government passed the Ley de memoria histórica, recognizing the rights of those persecuted during the Civil War and dictatorship, the Spanish Church escalated its own project of remembering, more than doubling between 2007 and 2013 the number of beatifications of clergy killed during the war. This discordant combination of circumstances has been reflected in cultural production where cinematic representations of the Civil War dead have often reanimated tropes of the Catholic popular imagination. While these films mark a broader cultural move away from the Church rhetoric of sacrifice and martyrdom and towards human rights frameworks as a way to deal with past traumas, their reliance on the culturally charged motifs of traditional hagiography has meant that contemporary martyr narratives remain entangled in older national myths. Taking examples from Emilio Martínez Lázaro's 2007 film Las 13 rosas, Mikel Rueda's Izarren Argia (2010) and Benito Zambrano's La voz dormida (2011), this article will demonstrate how the interpenetration of opposing discourses both undermines the films’ contribution to the project of historical memory while also offering powerful moments of reflection and empathy at the intersection of traditional martyrology and cosmopolitan memory practices.

摘要

在西班牙政府通过《历史性回忆录》，承认内战和独裁统治下受迫害者的权利的同时，西班牙教会提升了自己的纪念项目，在2007年至2013年间，圣灵降临的次数增加了一倍以上。在战争中丧生的神职人员。这种不协调的环境组合已经反映在文化生产中，在内战中死者的电影作品常常使天主教大众的想象力恢复生气。尽管这些电影标志着更广泛的文化动向，从教会的牺牲和难的言论转移到了人权框架，以应对过去的创伤，他们对传统全息术的文化主题的依赖，意味着当代的烈士叙事仍然纠缠于古老的民族神话中。以埃米利奥·马丁内斯·拉萨罗（EmilioMartínezLázaro）2007年的电影为例《 Las 13 rosas》，Mikel Rueda的Izarren Argia（2010）和Benito Zambrano的La voz dormida（2011），本文将展示相反话语的相互渗透既破坏了电影对历史记忆项目的贡献，又提供了强有力的反思时刻在传统教学和国际大都会记忆实践的交汇处表现出同理心和同情心。