Objetivo
CategoriesFilm magazine
Founder
Founded1953
First issueJuly 1953
Final issueSeptember–October 1955
CountrySpain
Based inMadrid
LanguageSpanish

Objetivo was a film magazine published between 1953 and 1955 in Madrid, Spain. The magazine was one of the significant publications, which contributed to the struggle for a censorship-free cinema in Francoist Spain.[1] Spanish author Marvin D'Lugo argues that the magazine was very influential during its lifetime despite its short existence and lower levels of circulation.[2]

History and profile

Objetivo was founded in 1953.[3][4] Based in Madrid, the first issue of the magazine appeared in July 1953.[5] Objetivo was modeled on Italian film magazine Cinema Nuovo.[2][6] The founders were Luis Garcia Berlanga and Juan Antonio Bardem.[4] They were both influenced from Italian neorealism.[4] The financier of the magazine which was linked to the illegal Communist Party[5] was José Ángel Ezcurra, who owned a cultural and political magazine entitled Triunfo.[1]

Objetivo did not conform to Franco's cultural politics.[7] The magazine adopted a social realist approach, which was concerned with the highest ideal of cinema.[2] It mostly featured articles about the Italian neorealism.[7][8] It did not covered Hollywood films, but contained articles on independent American films.[2] Eduardo Ducay published film critics in Objetivo.[9] The other significant contributors included Ricardo Muñoz Suay and Paulino Garagorri.[2] The magazine folded after the publication of the September-October 1955 issue[6] due to the crackdown of the Francoist State.[2][9] Most of its contributors were arrested following the closure of the magazine.[6] During its lifetime Objetivo produced just nine issues.[7]

See also

References

  1. 1 2 Nuria Triana-Toribio (2014). "Film Cultures in Spain's Transition: The "Other" Transition in the Film Magazine Nuevo Fotogramas (1968-1978)". Cultural Studies. 15 (4): 455–474. doi:10.1080/14636204.2014.991486. S2CID 142634911.
  2. 1 2 3 4 5 6 Marvin D'Lugo (1991). The Films of Carlos Saura: The Practice of Seeing. Princeton, NJ: Princeton University Press. p. 20. ISBN 0-691-00855-8.
  3. ↑ Fernando Ramos Arenas (2017). "Film Clubs and Film Cultural Policies in Spain and the GDR around 1960". Communication & Society. 30 (1). doi:10.15581/003.30.1.1-15.
  4. 1 2 3 Steven Marsh (2005). Popular Spanish Film Under Franco: Comedy and the Weakening of the State. Hampshire: Palgrave Macmillan. p. 207. ISBN 978-0-230-51187-3.
  5. 1 2 Ferran Alberich; Román Gubern; Vicente Sánchez-Biosca (2013). "Film Clubs, Festivals, Archives, and Magazines". In Jo Labanyi; Tatjana Pavlović (eds.). A Companion to Spanish Cinema. Chichester, West Sussex: Blackwell Publishing Ltd. pp. 441, 456. doi:10.1002/9781118322765. ISBN 9781405194389.
  6. 1 2 3 Barry Jordan (April 1991). "Culture and Opposition in Franco's Spain: The Reception of Italian Neo-Realist Cinema in the 1950s". European History Quarterly. 21 (2): 231–234. doi:10.1177/026569149102100203.
  7. 1 2 3 Virginia Higginbotham (2014). Spanish Film Under Franco. Austin, TX: University of Texas Press. p. 25. ISBN 978-0-292-76147-6.
  8. ↑ Rosanna Maule (2008). Beyond Auteurism: New Directions in Authorial Film Practices in France, Italy and Spain Since the 1980s. Bristol; Chicago: Intellect Books. p. 37. ISBN 978-1-84150-204-5.
  9. 1 2 Marvin D'Lugo (1997). Guide to the Cinema of Spain. Westport, CT; London: Greenwood Publishing Group. p. 147. ISBN 978-0-313-29474-7.
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