Abstract

Abstract: This article examines a brief dramatic prelude found after La comedia del marqués de los Vélez (1641) in the archives of the Barcelona History Museum. Due to its location and style, it seems likely that the same author wrote both the introduction in verse and the play, with the intention that the Loa de la comedia de Montjuïc be performed or read before La comedia del marqués de los Vélez. In this brief dramatic prelude, the anonymous author from Barcelona encourages Catalan citizens to arm themselves for war against Castilian troops, but he composes it in the Spanish language. Moreover, the anonymous author chooses the theatre —and not the propaganda pamphlet— to present his ideological views. Thus, the Loa de la comedia de Montjuïc becomes the only Catalan short theatrical propaganda piece written in Spanish about the Reapers’ War.Key words: Baroque Period, Theatre, Pamphlets, Propaganda, The Catalan Revolt.

Abstract

This article analyses the internet functionality used by the terrorists responsible for the Madrid bombings of March 11, 2004. The computers and USB memory drives seized by the Spanish police form the main source for the analysis. This case study is contrasted with the contemporary theoretical framework of the relation between terrorism and the internet.

Abstract

The first milestones of the history of Public Relations in Spain are listed in order to understand its evolution and current essence and definition. We analyzed the persuasive communication techniques historically used that could already be branded as such (advertising, propaganda, protocol, publicity ...) when the current concept of Public Relations was still lacking. This article presents a conception of Public Relations based on its most persuasive purpose: that of directing Public Opinion. We do not forget the other great current that focuses on the necessary generation of sympathy and understanding between the issuer and the receiving public. Thus, Public Relations are the union of various elements that make up its conceptual and scientific base: Marketing, Prospective, Advertising, Propaganda, Publicity, Sponsorship, Patronage, Corporate Communication, Internal Communication, Public Affairs, Protocol and Lobbying. There are two great influences in the gestation of Public Relations: Advertising (called scientific, educational, social, prestigious...) and Propaganda (commercial, collective...), so we focus on its founding fathers, the teachers and theorists Pedro Prat Gaballí from Advertising, and Francisco García Ruescas from Propaganda. Finally we will review from the fields of associationism, legislation and academics the great moments for the advancement of Spanish Public Relations, since our purpose is also to create a chronology as complete as possible that serves as the basis for future research.

Abstract

A tour of the theoretical development and the main research lines of international communication is presented. To do this, the appearance of communication in the configuration of power in four aspects (hard, soft, sharp and strategic narrative) is analyzed. The critical perspective and the Anglo-Saxon mastery on the subject are examined, with evidence from France, Germany, or Latin America. Five axes of future research are anticipated, such as the strengthening of the theoretical and methodological bases with interdisciplinary methods; the nature and characteristics of the international journalists (correspondents versus false news); the management of populist communication in the face of a political globalization with leaders that hinder the conventional journalistic ethos; the analysis of the structures; and global information systems in a multipolar scenario and less “CNN effect” than expected, and the constant innovation dynamics of propaganda.

Abstract

A tour of the theoretical development and the main research lines of international communication is presented. To do this, the appearance of communication in the configuration of power in four aspects (hard, soft, sharp and strategic narrative) is analyzed. The critical perspective and the Anglo-Saxon mastery on the subject are examined, with evidence from France, Germany, or Latin America. Five axes of future research are anticipated, such as the strengthening of the theoretical and methodological bases with interdisciplinary methods; the nature and characteristics of the international journalists (correspondents versus false news); the management of populist communication in the face of a political globalization with leaders that hinder the conventional journalistic ethos; the analysis of the structures; and global information systems in a multipolar scenario and less “CNN effect” than expected, and the constant innovation dynamics of propaganda.

Abstract

Calderón de la Barca is, maybe, one of the most ideologically manipulated writers in Spanish literature. During Franco’s dictatorship Calderón and his plays were turned into an emblem of the regime and its nationalist and catholic values, to the extent that the ultimate meaning of the playwright’s work was in many ways distorted. This article analyses the procedure of manipulation observed in distinct spheres, such as the academic, publishing or theatrical fields, and intends to give an account of how this manipulation has affected our consideration of Calderón’s theatre until today.

Abstract

The Spanish Civil War occupies an important place in the European collective memory. The film language and depiction of that conflict provide an important platform from which to study certain features of the European cultural matrix. This paper examines propaganda films produced by the Republican government, especially those films produced under the supervision of Luis Buñuel, the Spanish surrealist filmmaker. At the start of the war, the Aragonese filmmaker returned to Paris following a summons by the Spanish Foreign Ministry to collaborate with the Spanish embassy in Paris in counterespionage and propaganda. Buñuel’s main task was to gather, organize and edit pro-Republican footage. Unlike films made for viewing in Spain, the Paris-produced propaganda films were aimed at audiences in Europe with the objective of changing the doctrine of non-intervention in the conflict. They are also characterized by Buñuel’s theories and conception of documentary film-making, in which reflection and the psychological resources that motivate action or move an individual conscience predominate. This paper describes and analyses the film language and practice of that era, in particular the unique and emblematic film «España 1936» (1937).