In the post World War 2 era, especially during the early 1950s, Francisco Franco, the military and political leader of Spain from 1939 until his death in 1975, urged and emphasized people to reside in villages. Franco “linked national strength to the rugged native soil - in particular that of the Castilian meseta - from which countless generations of peasants had scratched out a living” (Richardson 13). Furthermore, Franco believed that “if Spain was to achieve its promised greatness and its citizens realize their mythical potential the Spanish peasant would need to remain in the pueblo, no matter the hardship” (Richardson 13). This ideology can be delineated by paleto cinema movies in the early 1950s, such as in director José Antonio Nieves Conde’s movie Surcos. Surcos is truly a solemn tale portraying the newfound hardships of Pepe Perez and his family as they immigrate into Madrid, while leaving their farm and previous established way of life behind them. Each member of the family tries to assimilate into the urban way of life; however, each family member endures difficult circumstances that prove to be...
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...y of living and this can be demonstrated when he gives Pilar a pair of bikinis. The bikini represents Western ideals and Benito is trying to promote these new western ideals into his own village. In the end, Benito and his townspeople become ecstatic when they receive news that the Spanish minister agreed for them to visit him in 4 months. Although this scene is meant to be humorous, it displays the nature of westernization and modernization that occurred in Spanish towns in the 1960s. Even though El turismo es un gran invento is a comedy, it should be taken seriously as it portrays the new Western ideals that Spain promotes in the 1960s. El turismo es un gran invento views urbanization in a good-manner and promotes it; however, Surcos, which was produced in the early 1950s, in a time of Spanish isolation, rather promotes the traditional village life over city life.
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