Cul u e & His o y Digi al Jou nal 13 (2)
Decembe 2024, 254
eISSN: 2253-797X
doi: h ps://doi.o g/10.3989/chdj.2024.254
A con o e sial legacy om he Roman ic pe iod.
Al-Andalus echoes in ilms ea u ing ou is s (1905-1975)
Al onso Fe nández-Tabales
Ins i u o Andaluz de In es igación e Inno ación en Tu ismo (IATUR, Uni e sidad de Se illa)
e-mail: a[email p o ec ed]
ORCID iD: h ps://o cid.o g/0000-0003-3330-2286
Ma ia C. Puche-Ruiz
Ins i u o Andaluz de In es igación e Inno ación en Tu ismo (IATUR, Uni e sidad de Se illa)
e-mail: m[email p o ec ed]
ORCID iD: h ps://o cid.o g/0000-0003-3689-0183
Submi ed: 2023-06-22. Accep ed: 2024-01-31. Published: 2025-02-07.
ABSTRACT: The cen al heme o he a icle is he ole o he image o Al-Andalus in shaping he a che ypes
o Spain and Andalusia, and mo e speci ically in he ou is image o he la e . Thus, he main objec i e o his
a icle is o show he his o ical p ocess h ough which he idea o and he ea u es associa ed wi h Al-Andalus
ha e become one o he componen s o he ou is image o Spain and, undamen ally, o Andalusia h oughou
mos o he 20 h cen u y. Fu he mo e, he seconda y objec i es a e o analyse he in ense deba e, unning since
he beginning o he 19 h cen u y, abou he image o Al-Andalus among Spanish in ellec uals; and analyse he ( e)
p oduc ion o “phan om image” linked o Al-Andalus in ilms wi h ou is s, using a quali a i e me hod o ilm
image analysis ha can be conside ed no el (G ounded Theo y buil h ough isual analysis wi h NVi o so wa e).
KEYWORDS: Al-Andalus; Spanish a che ypes; cinema; 20 h cen u y; quali a i e image analysis; o ien alism.
Ci a ion / Cómo ci a es e a ículo: Fe nández-Tabales, Al onso and Puche-Ruiz, Ma ia C. (2024) “A con o e sial
legacy om he Roman ic pe iod. Al-Andalus echoes in ilms ea u ing ou is s (1905-1975).” C ul u e & H is o y
Digi al Jou nal, 13 (2): 254. doi: h ps://doi.o g/10.3989/chdj.2024.254
Tí ulo aducido: Un legado con o e ido del pe iodo omán ico. Ecos de Al-Ándalus en las películas con u is as
(1905-1975).
RESUMEN: La emá ica cen al del a ículo es la pa icipación de la imagen de Al-Ándalus en la con o mación
de los a que ipos sob e España y Andalucía, y más conc e amen e en la imagen u ís ica de és a. Así, el obje i o
p incipal consis e en mos a el p oceso his ó ico a a és del cual la idea y los asgos asociados a Al-Ándalus han
pasado a o ma pa e de la imagen u ís ica de España a lo la go de g an pa e del siglo XX. Asimismo, como
obje i os secunda ios se plan ea analiza el in enso deba e man enido desde inicios del siglo XIX sob e la imagen
de Al-Ándalus en e los in elec uales españoles; y analiza la ( e)p oducción de los a que ipos inculados a Al-
Ándalus en los ilms con u is as, usando un mé odo cuali a i o de análisis de imágenes cinema og á icas que puede
conside a se no edoso (con igu ación de Teo ía Fundamen ada a a és del análisis isual con el so wa e NVi o).
PALABRAS CLAVE: Al-Ándalus; a que ipos españoles; cine; siglo XX, análisis cuali a i o de la imagen; o ien-
alismo.
Copy igh : © 2024 CSIC. This is an open-access a icle dis ibu ed unde he e ms o he C ea i e Commons
A ibu ion 4.0 In e na ional (CC BY 4.0) License.
PERSONALIZAR
eISSN 1988-8538
Idioma English
ISSN-L 0210-9174
FUENTE Cul u e & His o y, Vol. 13 Num. 1 (2024)
EDITOR Consejo Supe io de In es igaciones Cien í icas
DOI h ps://doi.o g/10.3989/chdj.2024.450
2 • Al onso Fe nández-Tabales / Ma ia C. Puche-Ruiz
Cul u e & His o y Digi al Jou nal 13(2), Decembe 2024, 254. eISSN: 2253-797X, doi: h ps://doi.o g/10.3989/chdj.2024.254
INTRODUCTION AND OBJECTIVES
This a icle comes wi hin a p ocess, he shaping o he
clichéd image o Spain and Andalusia iewed bo h om
wi hin and wi hou , which al eady has a long adi ion
in scien i ic li e a u e (Declé y, 2009; Hempel Lipschu z,
1988; Méndez Rod íguez and Plaza O ellana, 2015). In his
case, he analysis ocuses on a speci ic issue o pa icula
signi icance, due o i s widesp ead ea men and opica-
li y, namely he p esence o Al-Andalus (o he medie al
Islamic pe iod in he Ibe ian Peninsula) as a componen
elemen o his image, especially wi h ega d o he spe-
ci ic case o Andalusia.
To his end, he ques ion is app oached om he pe s-
pec i e o he c ea ion and consolida ion o he ou is
image o an a ea. This is gene a ed h ough p ocesses,
unde s ood and s udied wi hin he Humani ies and Social
Sciences, which in ol e he educ ion o he image o
a coun y o ou is des ina ion o a ew simple ea u-
es, which a e amilia o la ge segmen s o he ma ke
(Baloglu and McClea y, 1999; Cohen, 1988; Ech ne and
P asad, 2003; Na alón Ga cía, 2015; Selwyn, 1996), and
which a e hen ep oduced un il hey become pa o he
collec i e image o hose socie ies (G abu n and G a a i-
Ba bas, 2011; Salaza , 2011).
The a ious mani es a ions o ou is ac i i y a e one
o he examples o how he pas o Al-Andalus, o he
ision ha has been gi en o i , esu aces epea edly in
Andalusia as a “phan om image” (Didi-Hube man, 2002),
no a eali y bu “i s double, i s eplica in a new ype o
mi o ” (Me z, 1975, p. 32). This image- eplica, al hough
clea p eceden s can be ound in he 18 h cen u y and
e en in he 16 h cen u y (López On i e os, 2001; Rod í-
guez Mediano, 2006), is o ged in i s essen ial elemen s
h ough he ision ansmi ed by Roman ic a elle s
in he 19 h cen u y (Colmei o, 2002; González T oyano,
2018; He nández-Ramí ez, 2015; Méndez Rod íguez,
Plaza O ellana and Zoido Na anjo, 2010). In keeping
wi h he gene al lines o he Roman ic mo emen (exo-
icism, o ien alism, his o icism, decaying g andeu , e c.),
hey ound in Andalusia a geog aphical and cul u al spa-
ce clea ly di e en ia ed om a Eu ope al eady imme sed
in he Indus ial Re olu ion. They a ibu ed hese di e-
en ia ing ea u es o i s Islamic pas and pe cei ed hem
as he main appeal o a elle s.
In his way, hese au ho s (Gau ie , Bo ow, I ing,
Me imée, Fo d...), in line wi h hei ision, seek, and
ind, in he Al-Andalus pe iod he undamen al explana-
o y ac o o he eali y hey pe cei e, unde aluing he
con ibu ions o o he his o ical pe iods. And his ex ends
o all aspec s o his eali y, bo h in i s physical compo-
nen s (landscapes, i iga ion, u ban geog aphy, e nacula
a chi ec u e...) and i s human o socio-cul u al compo-
nen s (music, clo hing, es i i ies, gas onomy, no ms o
social beha iou ...). They go so a as o seek in his pas
he oo s o he psychological o spi i ual p o ile which
con o m o he “a che ype o he Andalusian soul,” gene-
ally desc ibed in pejo a i e e ms (indolence, ex o e -
sion, obsessi e de ence o honou eaching e oci y when
i is ques ioned, c uel y o animals, p edominance o pas-
sion as opposed o cold wes e n a ionali y, e c.). In his
espec , and jus as a b ie example, su ice i o ecall
Fo d’s con emp uous exp essions, s a ing ha “[i] he
people [in Andalusia] a e some imes c uel and e ocious
when hey ga he in la ge numbe s; le us emembe ha
h ough hei eins uns he blood o A ica; hei a he s
we e sons o he A ab […]” (quo ed in Ma chena y Fe -
nández-Tabales, 2002, p. 259).
Wi h all o his, in hei olk gen e s o ies and a el
books, o en conside ed p o o- ou is guides, hey com-
p ise he s uc u ing elemen s o he image o Andalusia
which has been pe pe ua ed in he places ha cons i u e
he main sou ces o Spain’s ou is ma ke (G ea B i-
ain, Ge many, F ance, he Uni ed S a es...). This image
has been ein o ced by he in ensi e eco e y o i s mos
clichéd elemen s by ou is p omo ion in he i s h ee-
qua e s o he 20 h cen u y (Hijano del Río, and Ma ín
Zúñiga, 2007), in which a g ea numbe o he p omo io-
nal campaigns, mos ly by he cen al go e nmen , ha e
eso ed o hese ea u es, ega dless o he e aci y o
he image ansmi ed, e en ex apola ing hem o he
whole o Spain (O ega Can e o, 1999; Pou e , 1995;
S o m, 2013), unde he Spanish “di e ence” slogan
(A inoguéno a, 2007; C umbaugh, 2007; Fuen es Vega,
2015; Pack, 2006).
The main objec i e o his a icle is o show he p o-
cess h ough which he idea o and he ea u es associa-
ed wi h Al-Andalus ha e been one o he componen s o
he ou is image o Spain and, undamen ally, o Anda-
lusia h oughou mos o he 20 h cen u y. The seconda y
objec i es a e, on he one hand, o gain a deepe unde s-
anding o he con ex in which he image o Al-Andalus
was c ea ed by analysing he in ense deba e abou his
image among Spanish in ellec uals since he ea ly 19 h
cen u y; and, on he o he hand, o s udy how his “phan-
om image” linked o Al-Andalus has been ( e)p oduced
in ilms ea u ing ou is s using a quali a i e me hod o
analysis o cinema og aphic images which can be consi-
de ed inno a i e.
SOURCES AND METHODS
A e ho oughly e iewing he di e en in ellec ual
posi ions on he legacy o Al-Andalus, a sample o 104
“ ou is pos e ” ilms was analysed. These ilms a e ho-
se ha exhibi na ional symbols and a che ypes wi h a
ce ain p omo ional in en , and do so, mo eo e , by jux-
aposing hem wi h he po ayal o he ou is h oughou
hei plo (Mes e, Del Rey, and S anishe sky, 2008; see
in Annexes Tables 1, 2, 3 and 4 wi h he comple e lis
o ilms). To ha e ec , i is wo h no ing ha 45.71%
o he ilms in he sample a e in e na ional, while 54.29%
a e Spanish, so ha domes ic and o eign depic ions a e
balanced. The p esence o a ecu en “phan om image,”
as a o m o anach onis ic “su i ing image” (Didi-Hu-
be man, 2002), a eplica om a bygone e a (Me z, 1975)
A con o e sial legacy om he Roman ic pe iod. Al-Andalus echoes in ilms ea u ing ou is s (1905-1975) • 3
Cul u e & His o y Digi al Jou nal 13(2), Decembe 2024, 254. eISSN: 2253-797X, doi: h ps://doi.o g/10.3989/chdj.2024.254
can be aced bo h in na ional and in e na ional cinema
du ing he pe iod unde s udy.
The ilms we e iewed and ca ego ised using NVi-
o so wa e. This so wa e belongs o he CAQDAS
(Compu e -assis ed Quali a i e Da a Analysis So wa e)
g oup o ools which, using a compu e ised coding sys-
em based on he analysis o isual con en (Rose, 2001)
and he cons an compa ison o da a, make i possible o
design G ounded Theo y esea ch on he objec o s udy
(S auss and Co bin, 1990; Fig. 1). To ca y ou his
wo k, he ca ego y o analysis “Al-Andalus he i age”
was c ea ed, in which scenes, segmen s o pho og aphs
and ex s we e il e ed and quan i ied, e lec ing how his
aspec , in ela ion o he de elopmen o ou ism du ing
he pe iod 1905-1975 in Andalusia, was depic ed. The
ma e ials analysed belong o he pe sonal a chi es o he
au ho s o ha e been ob ained du ing esea ch ca ied ou
a he Cinéma hèque F ançaise, as well as in he da a-
bases o he Filmo eca Española and he Filmo eca de
Andalucía.
Figu e 1. P ocedu e o analysing ilms h ough segmen s o
oo age and con en . Example o coding in he “Al-Andalus
he i age” node. Au ho ’s own wo k.
The ca ego y “Al-Andalus he i age” e e s o he le-
gacy o Islam in Andalusia and i s ea men (o eplica)
in “ ou is pos e ” ilms o e hose 75 yea s. Ou analy-
sis e eals a ibu es obse ed by López On i e os in he
image o Andalusia dissemina ed by oman ic a elle s.
This “phan om-image,” imp egna ed wi h mau ophilia
and his o icism ha p e e en ially chooses he Hispano-
Muslim pas as he de e mining ac o o Andalusian a -
ibu es, “[...] implies in e p e ing he en i e Andalusian
human landscape in e ms o Muslim splendou and i s
subsequen decadence and collapse” (López On i e os,
2001, p. 36), and e eals a p ominen p esence in o i-
cial ou is ad e ising h oughou he i s h ee-qua e s
o he 20 h cen u y. As indica ed in he In oduc ion,
many au ho s si ua e he o igin o he uni e sal image
wi h which Spain is iden i ied ab oad in Roman icism
(He nández-Ramí ez, 2008; Pou e , 1995). To his e ec ,
He nández-Ramí ez highligh s he p edominance o An-
dalusian his o ical he i age o e o he ypes o he i age in
o icial ou is p omo ion om 1928-1950 and 1951-1977
(56.2% and 48%, espec i ely), used by he ou is au ho-
i ies o ansmi imelessness and exo icism.
Th ough his analysis, we del e deepe in o he de-
pic ion o he “Al-Andalus he i age” in a mo e complex
o ma ( he cinema og aphic); a mass medium (Lus A a-
na, 2020) which, al hough no in ended o induce ou ism
as we know i oday (Ramón Gab iel, 2022), became he
mos e ec i e ool o he ci cula ion o images and na-
ional symbols du ing he 20 h cen u y (Ga cía Ca ión,
2013; Del Rey, 2007; Gau hie , 2004; Hake, 2002; Ha-
ywa d, 1995; Higson, 1995; Lindholm and Hall, 2000).
This is why he s udy o “ ou is pos e ” ilms no only
includes e e ences o Al-Andalus’s His o ical and A is-
ic He i age bu also he po ayal o human ypes, a i-
udes, legends, e c., associa ed wi h se en cen u ies o
Islamic he i age. In sho , his ca ego y is conce ned wi h
he ollowing aspec s highligh ed by López On i e os:
• A “p edominan ly A ab monumen alism,” which o-
cuses on he G anada-Se ille-Co doba iangle and is
cha ac e ised by he Alhamb a, he Alcáza in Se ille,
and he Mosque in Co doba (López On i e os, 2001,
pp. 42-43) bu also by he his o icis ec ea ions o
he ea ly 20 h cen u y (neo-Mudeja ism as a e u n o
Hispanic-A abic a chi ec u al in luence).
• A buil en i onmen e lec ing he laby in hine ne wo k
o i s his o ic ci y s ee s, ull o whi e houses wi h
window g illes and, abo e all, ypically Al-Andalus
ga dens, o cha ds, and cou ya ds; “all o which pe -
ec ly and inex icably blend o c ea e a uni ied image
in he eye o he isi o ” (López On i e os, 2001, p.
43).
• A po ayal o he egion as an “ea hly pa adise,” ba-
sed on exo icism, as well as on decadence, adi ion,
and clima e; elemen s which he ou is indus y con i-
nues o sell oday and which a ou a leisu ely li e as
opposed o he hus le and bus le o con empo a y li e
(López On i e os, 2001, p. 45).
• The human landscape o Andalusia, de e mined by i s
clima e, which conside s Andalusia as he “ga eway o
A ica,” pu s sen imen be o e eason and conside s
he Andalusian man as “b agga , lia , lazy, bu oon”
and he Andalusian woman, “ epea edly [...] as ligh -
hea ed” (López On i e os, 2001, p. 46).
To unde s and he e olu ion in he ep esen a ion
o “Al-Andalus he i age” in “ ou is pos e ” ilms, ou
s ages (“Cinema as a Documen ,” 1905-1922; “Cinema
as P opaganda,” 1923-1939; “The Leaden Yea s,” 1940-
1959, and “Tou ism is a G ea In en ion,” 1960-1975)
ha e been delimi ed. They co espond o poli ical pe iods
which we e undamen al o ou is ac i i y in Spain du-
ing he i s h ee-qua e s o he 20 h cen u y (Puche-
Ruiz, 2021, 2022), di e en ia ing he ilms acco ding o
whe he hey a e domes ic o in e na ional p oduc ions.
The analysis ends in 1975, since om hen onwa ds i
is no longe possible o speak o di ec di igisme on he
pa o he public au ho i ies in ela ion o ou ism, whi-
le he appea ance o ou is s as ilm cha ac e s and he
ep esen a ion o he Andalusian egion on he cinema
sc een diminishes o a la ge ex en .
4 • Al onso Fe nández-Tabales / Ma ia C. Puche-Ruiz
Cul u e & His o y Digi al Jou nal 13(2), Decembe 2024, 254. eISSN: 2253-797X, doi: h ps://doi.o g/10.3989/chdj.2024.254
The me hod employed has made i possible o ob ain
quali y esea ch esul s, which p o ide bo h quan i a i e
suppo o sus ain he esea ch hypo heses, and quali a-
i e suppo , which enables he de ailed analysis o he
ex ual e e ences (Faulkne , 2006; Ga cía-Fe nández,
2021) o es ablish ends and beha iou s h ough he s u-
dy o he scenes. This in i sel gi es he s udy a le el o
de ail and p ecision ha would be impossible o achie-
e in an exclusi ely s a is ical wo k. The applica ion o
NVi o ool o he analysis o cinema og aphic ma e ials
and, mo e speci ically, o hose ha show he ad en u e
o he ou is in hei plo , is a no el y wi hin he ield
o Visual S udies.
THE PERCEPTION OF AL-ANDALUS IN THE
SPANISH INTELLECTUAL CONTEXT (19TH-20TH
CENTURIES)
To know and be e unde s and he o igin o he iew
o Al-Andalus in “ ou is pos e ” ilms, i is o in e es o
i s del e in o he pe cep ions o he Al-Andalus pe iod
ha ha e been de eloped since he 19 h cen u y among
he Spanish cul u al eli es. These pe cep ions ha e been
he b eeding g ound o subsequen in e p e a ions and
a is ic p oduc ions.
In gene al e ms, he a i ude o Spanish in ellec uals
owa ds Al-Andalus can be di ided in o wo main ends,
al hough i should be no ed ha he app oaches ha e no
always been dicho omous bu ha he posi ions ha e
o en mo ed in he middle g ound, wi h a g ea e o
lesse swing owa ds one o he ex emes depending on
he his o ical phase and he au ho s’ own pe sonal e olu-
ion. These endencies a e:
• On he one hand, hose who conside ha he Al-An-
dalus pe iod ep esen s a pa en hesis in he ue his o y
o Spain. A pe iod ha was undamen ally exogenous
and an i-Wes e n in na u e, inso a as i was no Ch is-
ian, and which a e i s o una e ex i pa ion has le
no g ea e ace han some a chaeological e idence and
ce ain oponymic es iges. This nega i e iew iden-
i ies Al-Andalus wi h many o he s e eo ypes ha
mode ni y has come o associa e wi h he A ab wo ld
(ba ba ism, eligious undamen alism, and, in sho , as
Edwa d Said [1978] denounced in pas decades, he in-
compa ibili y be ween Mode ni y and Islam).
• On he o he hand, hose who pe cei e and ansmi a
posi i e image o Al-Andalus, associa ed wi h cul u al,
scien i ic, and economic splendou . This pe cep ion in-
cludes an app ecia ion o i s aes he ic e inemen and
i s ole in ansmi ing o he Wes he cul u al ad an-
ces o he medie al A ab wo ld and, h ough i , he
classical G eco-La in he i age, la gely los in medie al
Ch is ian Eu ope. Consequen ly, his endency ejec s
he ampu a ion o he Andalusian he i age om he
his o y o Spain (o o “ he Spains”), and e indica es
he pe iod as pa o i , wi h a ich cul u al legacy ha
con inues o he p esen day.
The i s , o nega i e, iew p e ailed un il he begin-
ning o he 19 h cen u y, as could no be o he wise in an
Ancien Régime socie y s uc u ed a ound he Ca holic e-
ligion, he ideology ha unde pinned he social o de and
egula ed e e yday li e. Howe e , his monoli hic image
began o b eak down in he ea ly 19 h cen u y wi h he
igu e o José An onio Conde and his wo k His o ia de
la dominación de los á abes en España, sacada de a-
ios manusc i os y memo ias a ábigas (1820), in which
he a ou ed Al-Andalus and e en Islam, denouncing i s
p e ious unanimously nega i e image.
The ollowing decades saw he a o emen ioned (see
he In oduc ion sec ion) p oli e a ion o li e a y and
pic o ial images c ea ed by Roman ic a is s, which en-
eloped Al-Andalus in all he elemen s o O ien alis
e oca ion (Gae e, 2022), undeniably a ou able and a -
ac i e e en i only in aes he ic and supe icial e ms
( e inemen , mys e y, passion...; W. L. B., 1925). In his
espec , Washing on I ing mus be men ioned, he ue
a chi ec o he my h o he Alhamb a as a undamen al
Al-Andalus icon ab oad (González Alcan ud, 2007), and
whose wo k has le clea ly iden i iable echoes in all sub-
sequen ou is p omo ion and in cinema og aphic wo ks
ha will be analysed in he ollowing sec ion. Along he
same lines, he use o Tales o he Alhamb a (1832) in
ilms such as Los cla eles de la Vi gen (Flo ián Rey,
1929) o Todo es posible en G anada (José Luis Sáenz
de He edia, 1954) a e no ewo hy examples.
Wi hin his con ex , i is wo h men ioning he lesse -
known wo k o some Andalusian Roman ic w i e s,
mos ly om G anada, who exp ess sympa hy owa ds he
people o Al-Andalus and mo e speci ically owa ds he
Moo s expelled om hei land, in a clea pa allel wi h
he exile hey hemsel es su e ed o hei libe al ideas
(To ecilla, 2019). P ominen among hem we e Ped o
An onio de Ala cón and F ancisco Ma ínez de la Rosa,
who acco ding o González Alcan ud (2014a) achie ed
no able popula i y in he Pa is Commune wi h his play
Aben Humeya o la ebelión de los mo iscos (1830), e-
cei ed in F ench e olu iona y ci cles as a gene al hymn
o he eedom o he opp essed. This popula isa ion o
he Moo ish heme, om an app ecia i e pe spec i e o
he Moo as a agic cha ac e , hei o a wo ld in decline
and expelled om his own coun y, was b ough o li e
in Spain by he Se illian Manuel Fe nández y González,
albei in popula gen es o limi ed li e a y alue, such as
he his o ical no ele e o he se ialised no el (Fe nández
y González, 1859).
Along he same posi i e lines bu wi h his o iog a-
phical and philological igou , i is wo h men ioning he
Se illian Pascual de Gayangos in he mid-19 h cen u y,
who is conside ed he ins iga o o Spanish A abism.
Th ough his ansla ions o English om he o iginal
A abic du ing his long pe iods o esidence as a p o-
esso a English uni e si ies, he dissemina ed a be e -
ounded image o Al-Andalus in he Anglo-Saxon sphe e
han he one known h ough oman ic na a i es. In his
espec , and acco ding o Rice (1999), he well-known
geog aphe and explo e Richa d F ancis Bu on, amous
A con o e sial legacy om he Roman ic pe iod. Al-Andalus echoes in ilms ea u ing ou is s (1905-1975) • 5
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o being he i s Wes e ne o en e he holy places o
Mecca, conside ed him o be his ue mas e o A abic
language and cul u e.
In he second hal o he 19 h cen u y, he e was a
ie ce eac ion o he image dissemina ed by Gayangos
and he Eu opean Roman ics. This nega i e eac ion was
led by he p o esso o A abic F ancisco Ja ie Simone ,
who, despi e his a ea o specialisa ion, exp essed a clea
an ipa hy owa ds he pe iod o Muslim Spain, conside-
ing ha he a emp s o indica e i s achie emen s we e
no hing mo e han unpa io ic a acks agains he essen-
ce o Spain and a denig a ion o i s ue his o y. Simo-
ne can be conside ed he con empo a y ini ia o o he
in ellec ual cu en agains Al-Andalus, which om his
opposi ion o Gayangos o igina ed a his o y o pola i y
o opposing igu es which, as we shall see, eaches he
p esen day (González Fe ín, 2006).
This pola i y began o ake shape a he end o he
19 h cen u y, wi h he de alua ion o Al-Andalus by he
enowned Gene a ion o ‘98, which, in i s sea ch o he
essence o Spain a e he c isis esul ing om he loss
o he las emnan s o he colonial empi e, ound in
Cas ile and i s alues an essence ha was in insically
Ch is ian. In he same way, he ejec ion o all aces
o he pas o Al-Andalus by au ho s such as Unamu-
no and Pío Ba oja (who wen so a as o desc ibe he
Alhamb a as an “o ien alis kiosk”) is no ewo hy. By
con as , he igu e o Ángel Gani e eme ged as a e -
en Spanish na ionalis bu who did no sha e he “Cas-
ilianism” o his con empo a ies. Gani e (1904), abo e
all in his e y popula wo k G anada la Bella, made a
indica ion o Al-Andalus, linking i o an app ecia ion
o he cul u al uniqueness o he Andalusia o his own
days. Consequen ly, he was conside ed a o e unne by
he i s con empo a y Andalusian na ionalis s, such as
Blas In an e, Isid o de las Cagigas, and Rodol o Gil
Benumeya, who e en changed his second su name o
claim his Al-Andalus o igins (González Alcan ud, 2014;
Ruiz Lagos, 1985).
The u n o he cen u y saw he ue consolida ion,
bo h in Spain and in he es o Eu ope, o he ima-
ge o Andalusia ha has su i ed o he p esen day
(Puche-Ruiz and Fe nández-Tabales, 2019), used in en-
si ely in ou ism p omo ion and in which eminiscences
o Al-Andalus a e a basic componen (Ca dwell, 2002).
This consolida ion ea u es wo undamen al miles o-
nes, coinciding wi h wo in e na ional exhibi ions. On
he one hand, he a ac ion “L’Andalusie au emps des
mau es,” a he Uni e sal Exhibi ion in Pa is in 1900
(Fig. 2). This exhibi ion ep esen s he culmina ion o
he whole clichéd image o Al-Andalus ha had been
in he making since Roman icism and he pa adox is
ha i was p og ammed on he ini ia i e o he Pa is
o ganise s hemsel es, ou wi h and agains he wishes
o he o icial Spanish ep esen a ion. This ac is pa i-
cula ly illus a i e o he pola i y desc ibed abo e: he
o icial Spanish au ho i ies ejec ed he clichéd image o
he Islamic and sou hwa d-looking pas ha was being
o e ed, seeking o p ojec he message o a mode n
Eu opean na ion; bu he o ganise s hemsel es, seeking
o boos he a endance o he F ench public, el hey
could no o ego he o ien alis appeal o Al-Andalus
in a showcase o he g ea cul u es o he wo ld (Box
Va ela, 2015; Mo eno Ga ido and Villa e de, 2019; Sa-
za o nil, 2019). I should also be no ed ha his iew
om ab oad is an excellen example o he endu ing
“phan om image” (Didi-Hube man, 2002) ha would
be ansposed in o he F ench cinema og aphic eplica
(Me z, 1975) o Andalusia du ing he i s s age exami-
ned he e (“Cinema as a Documen ,” 1905-1922).
Figu e 2. Pos e o he a ac ion “L’Andalousie au emps des
mau es,” Pa ís 1900. Au ho : Ulpiano Checa y Sanz. BNF.
The second miles one, his ime a Spanish ini ia i e,
was he Ibe o-Ame ican Exhibi ion in Se ille in 1929,
which de ini i ely consolida ed he image o Andalusia
ha has su i ed o he p esen day (G aciani, 2019),
despi e he opposi ion o some Andalusian in ellec uals
(Fe nández-Tabales, 2019). This local “phan om ima-
ge,” made o icial by he s a e appa a us wi h a clea
ou is ocus, includes among i s componen s neo-Mu-
deja a chi ec u e, which, by inco po a ing o mal ele-
men s om he Al-Andalus pe iod, has become one o
he Andalusian a che ypes o his day. I is e en pos-
sible o a i m ha he ejec ion o Al-Andalus legacy
in some in ellec ual ci cles has been exace ba ed by i s
clichéd use in ou is p omo ion since hen, mu ually e-
in o cing he an i-Al-Andalus and an i- ou is backlash,
due o he ei e a ion and ulga isa ion in he use o
i s ea u es educed o s e eo ypes. On he o he hand,
he his o icis ision o he Ibe o-Ame ican Exhibi ion
co esponds s ylis ically wi h he a emp o poli ica-
lly c ea e a na ional cinema wi hou clichés, based on
e nacula s e eo ypes and eplicas, as discussed in he
second cinema og aphic pe iod analysed (“Cinema as
P opaganda,” 1923-1939).
In any case, and line wi h his posi ioning o he cul-
u e and image o Andalusia a he cen e o he deba e,
whe he o o agains his ecu en “phan om image,”
he i s decades o he 20 h cen u y wi nessed a popula-
isa ion, gene ally o a posi i e na u e, o he Al-Andalus
o Moo ish pas as a ecu ing heme (Ande son, 2021).
This is pa icula ly no iceable in he li e a y sphe e, wi h
examples such as hose o Fe nando Villalón (“¡Islas del
Guadalqui i ! / Donde se ue on los mo os / que no se
quisie on i !”); Manuel Machado in his poem “Adel os,”
dedica ed o Miguel de Unamuno:
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Yo soy como las gen es que a mi ie a inie on
soy de la aza mo a, ieja amiga del Sol
que odo lo gana on y odo lo pe die on.
Tengo el alma de na do del á abe español.1
O Fede ico Ga cía Lo ca: “I belie e ha being om
G anada inclines me o a sympa he ic unde s anding o
he pe secu ed. O he gypsy, he black, he Jew..., o
he Moo ish ha we all ca y wi hin us” (Plaza Chillón,
2009, p. 2).
This end, which places Al-Andalus as an essen ial
pa o he cu en “Andalusian spi i ,” culmina es, om
he poin o iew o poli ical hough , in he wo k o
Blas In an e, he ini ia o o con empo a y Andalusian
na ionalism. He claims he his o y o Al-Andalus as he
culmina ion o Eu opean Medi e anean cul u es and
inds in he Cas ilian conques o Andalusia he o igin
o he social and economic p oblems o la e cen u ies
(“Spain is he p ison in which Ge manic and eudal Eu-
ope placed Andalusia”; In an e, 1931).
A e he Ci il Wa , and in he con ex o he de-
ba e among exiles on he his o ical o igins o Spain’s
p oblems, ano he o he pola isa ions e e ed o abo e
can be ound (Boase, 1989; Mon oe, 1970), conce ning
he “su i ing image” o Al-Andalus (Didi-Hube man,
2002). I should be no ed ha his exace ba ion coincides
wi h he heigh o he F ancois de ence o Spanish na-
ional “di e ence” in ou ism, e lec ed by Ra ael Calleja
(1943) in his Apología u ís ica de España, which links
he peculia i ies o he Spanish “ ace” o he exo ic His-
pano-A abic cha ac e is ic (“The Leaden Yea s,” 1940-
1959). On he one hand, he G anada-bo n philologis
Amé ico Cas o (Bodian, 2017), who, based on he p e-
sence o Semi ic bo owings in Spanish li e a u e, concei-
es he medie al o igins o Spanish cul u e as a mix u e
o Heb ew, A ab and Wes e n Ch is ian elemen s; so ha
he expulsion o he Semi ic componen (Jews and Moo s
in he ea ly Mode n Age) can be in e p e ed as a na ional
loss o be conside ed among he ac o s causing Spain’s
subsequen p oblems in p og essing o mode ni y.
In con as , he A ila his o ian Claudio Sánchez Al-
bo noz eac ed i ulen ly o he o me , becoming he
mos p ominen ep esen a i e o he his o ical endency
e e ed o he e as he nega i e iew o Al-Andalus. Spe-
ci ically, Sánchez Albo noz a i ms, on he basis o legal
ex s, ha Spain was shaped, e i o ially, poli ically, and
socially, in he con on a ion wi h Al-Andalus, which i
de ea ed and whose emains i elimina ed, so ha i is
illuso y o claim o ind signi ican ea u es o i s he i-
age in la e Spain. In his sense, s a emen s such as he
ollowing a e e ealing, bo h in con en and one:
Spain is no , he e o e, a people wi h an o iginal de ec ,
wi h a he edi a y law, he inep o sp ing o a co up
a he , no is i an A icanised coun y, sick wi h he o ien-
1 “I am like he people who o my land came / I am o he
Moo ish ace, old iend o he Sun / who won e e y hing and
los i all. / I ha e he ube ose soul o he Spanish A ab.”
al i us, lacking in c ea i e impe us, a ejec o Islam. I is
[...] Eu ope’s shield agains incompe en and ba ba ic A i-
ca [...]; a Wes e n people only occasionally cu o om
he ou es o i s Eu opean b o he s by i s own millena y
eage ness o ejec he con agion o neighbou ing A ica
(Sánchez Albo noz, 1985, p. 39).
These wo majo opposing cu en s we e o con inue
in he second hal o he 20 h cen u y and he beginning
o he 21s , h ough he academic disciples o Cas o and
Albo noz, jus a he momen when he ea u es o “Al-
Andalus he i age” we e showing signs o exhaus ion in
ilms ea u ing ou is s a e he ans e o na ional cine-
ma og aphy o he Cos a del Sol (“Tou ism is a G ea In-
en ion,” 1960-1975) and i s ewo king in a pos -Fo dis
and expe ien ial key a e F anco’s dic a o ship. Among
Cas o’s disciples, Se illian F ancisco Má quez Villa-
nue a, a p o esso a Ha a d Uni e si y, s ands ou . He
inds in Mudeja ism and in he cul u al policy o Al onso
X he Wise he embe s o he cul u al splendou o Al-
Andalus, which, h ough he eno mous ansla ing wo k
o he Cas ilian king, we e in oduced in o he Eu opean
cul u al adi ion, en iching he Renaissance (Má quez
Villanue a, 2004). This cu en was ein o ced wi hin
Spanish bo de s by he impo an wo k o Emilio Ga cía
Gómez, conside ed he a he o cu en Spanish A a-
bism, who dissemina ed essen ial wo ks o Al-Andalus
li e a u e h ough his ansla ions. Finally, he endency
o unde s and Al-Andalus as a undamen al con ibu ion
o Spanish and e en Eu opean cul u e con inues in he
21s cen u y wi h au ho s such as Emilio González Fe ín
(2018) om he Uni e si y o Se ille and José An onio
González Alcan ud (2014a) om he Uni e si y o G a-
nada.
By con as , he nega i e iew o Al-Andalus was ca-
ied o wa d h ough he ollowe s o Albo noz’s Cas i-
lianis line, he mos no ewo hy o whom in he las de-
cades o he 20 h cen u y was he Valladolid medie alis
Miguel Ángel Lade o Quesada. This line has e en beco-
me mo e adical in ecen yea s, leading o he appea an-
ce o wo ks such as ha o Se a ín Fanjul (2000), whose
bes -known book, which was p aised in i s o ewo d by
Lade o Quesada, bea s he signi ican and de ini i e i -
le o “Al-Andalus con a España” (“Al-Andalus agains
Spain”).
In conclusion, he dual exis ence o a “posi i e my h”
and a “nega i e my h” o Al-Andalus can be disce ned.
Conside ing he concep o my h in he sense gi en by
he an h opologis J. A. González Alcan ud (2014), o-
llowing Lé i-S auss, as na a i es, no necessa ily alse,
ha lead o ac ions in oday’s wo ld (p. 25); my hs, on
he o he hand, “ ha cons i u e he magma on which a
socie y is based, i s collec i e e hos” (p. 19). This issue
will be add essed again in he Conclusions sec ion.
Las ly, al hough his sec ion is de o ed o isions and
app oaches in Spanish in ellec ual sphe es, i should be
no ed ha he e a e many con ibu ions o he deba e
om an in e na ional pe spec i e. Among he mos ecen
a e s udies ha analyse he ision o Al-Andalus om
oday’s A ab wo ld (Calde wood, 2015; Ci an os, 2018);
A con o e sial legacy om he Roman ic pe iod. Al-Andalus echoes in ilms ea u ing ou is s (1905-1975) • 7
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he ole o Al-Andalus in he gene al ision o O ien a-
lism om he Wes e n wo ld (González Alcan ud, 2021);
o some wo ks in he line o pos -colonial s udies ha
analyse he use o a common pas by Spanish colonia-
lism in Mo occo (Calde wood, 2018). Also wo h men-
ioning is he wo k o Cha les Hi schkind (2021), on he
ansmission, and e en con inui y, o Andalusian cul u e
in la e Spain, in which he eaches mo e ambi ious con-
clusions han he usual ones in Spanish his o iog aphy on
he su i al o his cul u e.
RESULTS. AL-ANDALUS HERITAGE IN “TOURIST
POSTER” FILMS (1905-1975)
I is wo h no ing ha he sample o ilms shows a
balanced dis ibu ion o e e ences o he “Al-Andalus
he i age” be ween domes ic and in e na ional ilms. Thus,
47.28% o he e e ences co espond o he o me , while
he emaining 52.72% a e obse ed in in e na ional p o-
duc ions. Howe e , as can be seen in Figu e 3, a o al
o 239 e e ences a e une enly dis ibu ed h oughou he
ou pe iods unde s udy.
Figu e 3. G aph showing he e olu ion o he “Al-Andalus
he i age” du ing he ou pe iods s udied. Au ho s’ own wo k.
The e o e, he pe iod om 1905 o 1922 (“Cinema as
a Documen ”), wi h 50 e e ences, is 16.32% below he
a e age.2 In his pe iod, he e e ences mainly allude o
he concep o “Andalusian pa adise” (López On i e os,
2001) and he ision o Andalusia is ha dissemina ed
by he nine een h-cen u y uni e sal exhibi ions (Mo eno
Ga ido, and Villa e de, 2019). The las s age (“Tou ism
is a G ea In en ion,” 1960-1975), on he o he hand,
wi h 54 e e ences, was 9.62% below he a e age, and
i s capaci y o dissemina e he ea u es conce ning “Al-
Andalus he i age” declined, as he epicen e o ou is ac-
2 Gi en he unequal numbe o ilms in each s age (8, 13, 45, and
38), i was decided o ob ain a heo e ical a e age alue o ilms
and e e ences, and o plo he esul s acco ding o hei de ia-
ion om his a e age, showing hei g ow h o decline con-
ce ning he p e ious s age. The heo e ical a e age numbe o
e e ences o he “Al-Andalus he i age” node s ands a 59.75.
i i y shi ed om he he i age ci ies o he coas (A ino-
guéno a, 2007; C umbaugh, 2007; Fuen es Vega, 2015).
I is in he middle s ages whe e he g ea es changes
can be seen, om a dec ease o 15.06% conce ning he
p e ious s age (pe iod “Cinema as P opaganda,” 1923-
1939; 41 e e ences) o an inc ease o 88.70% (“The
Leaden Yea s,” ea ly F ancoism, 1940-1959; 94 e e en-
ces). I is wo h emembe ing ha F ancoism shaped i s
own na ional iden i y o ou ism, combining he concep
o Spain as an exo ic des ina ion o Eu opeans wi h a
longing o eco e i s impe ial and colonial pas (Ma -
ín Má quez, 2008); simpli ying he heo e ical pola i y
o he my h o Al-Andalus and i s “phan om image” o
emphasise Spanish excep ionali y by pu ing he ocus on
Andalusia, oge he wi h Cas ile, as a showcase o cul u-
al weal h (Ramón Gab iel and Ga cía Ál a ez, 2016).
The sudden inc ease du ing “The Leaden Yea s” may be
due o he p omo ion o he Spanish “di e ence” heo y
ad oca ed by Ra ael Calleja (1943) in his Apología u ís-
ica de España, a “di e ence” s essed h ough he ou-
is “liquid bo de ” be ween he egion o Andalusia and
he Mo occan P o ec o a e (González Alcan ud, 2014b);
and also, o a lesse ex en , o he so ening o he o icial
nega i e image o he “Moo ” a e he use o Magh ebi
oops as a shock o ce o F anco’s side in he Ci il
Wa (Bolo inos Ala d, 2016; Velasco de Cas o, 2014),
an example o wha is he documen a y ilm “Romance o
ma oquí” (Elena, 1996).
G adually, he na ional “di e ence” was dilu ed wi h
he p omo ion o he “ ypical Spanish,” so ha e e ences
o eplicas o he Al-Andalus legacy in cinema wi h ou-
is s ook a sligh down u n du ing he democ a ic pe iod,
jus a he momen o g ea es indica ion o Al-Andalus,
eaching a esounding low poin a e he Uni e sal Ex-
hibi ion in Se ille (1992). A pa adox whose causes will
ha e o be he subjec o ano he s udy.
“Cinema as a Documen ” pe iod (1905-1922)
The i s s age is de e mined by he c ea ion o he
Na ional Tou ism Commission (1905) and he Royal
Commission o Tou ism (1911) du ing he eign o Al-
onso XIII. As has been indica ed, his pe iod was domi-
na ed by e e ences linked o he F ench image- eplica
o Spain; isions ha we e s ill linked o he p omo ion
o a Hispano-Muslim “phan om image” oo ed in he
uni e sal exhibi ions o he 19 h cen u y (Mo eno Ga i-
do, and Villa e de, 2019). Thus, 88% o he e e ences
conce ning he a o emen ioned ea u es o “Al-Andalus
he i age” a e concen a ed in in e na ional ilms, which a
he beginning o he wen ie h cen u y we e esponsible
o dissemina ing hese images o exo ic o he ness. Thus,
beyond he Edenic composi ions o he Alcáza o Se ille
and he Alhamb a o G anada in Blasco Ibáñez’s own
e sion o Sang e y a ena (1916; Fig. 4), he F ench p o-
duc ions Les iancés de Sé ille (Louis Feuillade, 1914),
Chichine e e Cie (Hen i Des on aines, 1921), El Do-
ado (Ma cel L’He bie , 1921), Soleil e Omb e (Jeanne
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Roques, 1922) and, o a lesse ex en , La Fê e Espagnole
(Ge maine Dulac, 1919), as well as he i s Ame ican
e sion o Blasco Ibáñez’s no el (Blood and Sand, F ed
Niblo, 1922).
Figu e 4. Doña El i a isi s he Pa io de las Doncellas in he
Alcáza o Se ille in Sang e y A ena (Vicen e Blasco Ibáñez,
1916). BNF.
In Les iancés de Sé ille (known in Spain as Amo íos
se illanos), he Alcaza o Se ille and i s ga dens ake
on pa icula p ominence as an o ien alised se ing (Ló-
pez On i e os, 2001), so ha , om he images ha ha e
come down o us, i could be said ha he plo is me ely
a ehicle o Louis Feuillade o in oduce he F ench pu-
blic o a d eam-like space, a se ing h ough which his
cha ac e s wande (Fig. 5), and in which he agedy o
jealousy is unleashed due o he a en ion ha a F ench
pain e pays o he young p o agonis .
Figu e 5. O ien alised scene in Les iancés de Sé ille (Louis
Feuillade, 1914). Au ho s’ pe sonal collec ion.
I is no su p ising, hen, ha one o he abiding he-
mes which Roman ic a elle s associa ed wi h he Sou h
o Spain and i s A ab he i age now eme ges in his ilm:
he “p edominance o sen imen o e eason” (López
On i e os, 2001). So, Cu i o, a budding bull igh e , is
d i en o a emp o mu de he ha mless pain e . Signi i-
can ly, his enge ul passion is also linked o he quin es-
sence o Al-Andalus a chi ec u al he i age, he Alhamb a,
in ano he F ench p oduc ion ha is he epi ome o his
end: El Do ado (1921), sho by he exp essionis Ma -
cel L’He bie on loca ion in G anada and Se ille.
In his ilm, he Alhamb a plays an essen ial ole
and e en becomes ano he cha ac e . The Nas id palaces
become he obsession o a Swedish pain e whose mis-
sion is o cap u e hei oman ic my hi ica ion on can as.
Once in he ci y, he young a is hi es he se ices o a
lamenco dance , Sibilla, who se es as bo h guide and
model amid he abulous Al-Andalus ga dens and o
whom he eels bo h a ac ion and a e sion (Fig. 6).
Figu e 6. Rejec ion o backwa dness and igno ance in El
Do ado (Ma cel L’He bie , 1921). CF.
The Alhamb a hus becomes he wo kplace o a
woman o agic exis ence (Sibilla, he dance ) and he
pain e , who akes ad an age o he ga dens o ha e u -
i e encoun e s wi h his swee hea . One nigh , Sibilla,
o e come by jealousy and a desi e o e enge, locks
he wo young lo e s in he Sala de los Abence ajes,
o cing hem o succumb o he e o o he ghos s ha
supposedly inhabi he Alhamb a. In his way, he Nas id
palaces a e ans o med in o a space o exp essionis e-
o , unde Sibilla’s bloodsho gaze.
L’He bie employs geog aphic subs i u ion o achie-
e a abulous backd op; hus, he does no hesi a e o
place he Gi alda owe in G anada, making a clea An-
dalusian synecdoche o Spain, and he ec ea es in he
laby in hine Albaicín. Ano he ilm ha uses his sup-
plan ing is Soleil e Omb e, he i s ilm di ec ed by
he F ench Jeanne Roques “Musido a” (1922), in which
he Mudeja buildings o Toledo a e used o c ea e an
Andalusian eplica o Spain, whe e lo e and dea h once
again go hand in hand. He e also, he Spanish p o a-
gonis will all p ey o jealousy in a se ing o Hispa-
no-Muslim in luences, ele a ing sen imen o e eason
(López On i e os, 2001), and mu de ing he Ame ican
A con o e sial legacy om he Roman ic pe iod. Al-Andalus echoes in ilms ea u ing ou is s (1905-1975) • 9
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ou is who has s olen he a ec ion o he bull igh e
swee hea .
In La Fê e Espagnole, he Hispano-A abic emi-
niscences a e p o ided bo h by he p o agonis ’s ga -
den and by he Flamenco-s yle and neo-Mudeja se s
o he “mode n” ci y desc ibed in he sc ip (“pe -
haps Se ille”), as he backg ound o a s o y ha once
again indica es he agic cha ac e o he Spania d
( he p o agonis ’s sui o s do no hesi a e o igh a
duel o he dea h; Fig. 7). In his espec , i is wo h
highligh ing he in luence ha he o ien alised se -
ings ( he physical en i onmen ) ha e on he cliché
o he exal a ion o sen imen o e eason (beha-
iou ), which os e s he display o “an i-wes e n” a -
i udes (bo h by he indigenous people and by ou is s
isi ing he egion), and which could be conside ed
mo e ypical o a people om a coun y ha is no
ye ully ci ilised a he han o a Eu opean coun y
well in o he 20 h cen u y.
Figu e 7. The sui o s’ duel o he dea h in La Fê e Espagnole
(Ge maine Dulac, 1919). Pie e Hen y. CF.
In his ea ly pe iod, we also ind wo ilms o diame-
ically opposed gen es ha ne e heless o e a simila
ision o Hispano-Muslim Andalusia: on he one hand,
Hen i Des on aines’ F ench comedy Chichine e e Cie,
in which he male p o agonis , Philippe, a els o Spain
and alls in lo e wi h a Flamenco pe o me ; on he o he
hand, he i s Hollywood e sion o Blood and Sand.
In e es ingly, bo h ilms concei e o he Spanish woman
as a pleasu e-lo ing hou i, disguising he ices and pas-
sions among cushions and Moo ish pou es. In he same
ein, i is wo h no ing he cha ac e isa ion o he o-
les o La Ca mela and Doña Sol he sel (Fig. 8). Thus,
while he o me eclines among sump uous ab ics and
is he ic im o he own jealousy, he la e , as soon as
she se s oo on Andalusian soil, is a ended by se an s
in Moo ish cos umes and d esses like he a ou i e o a
p ince om Tales o he Alhamb a.
Figu e 8. Doña Sol as a mode n odalisque in Blood and Sand
(F ed Niblo, 1922). WCFTR-69689.
“Cinema as P opaganda” pe iod (1923-1939)
This second pe iod wi nessed he agile con inuan-
ce o he Royal Commission o Tou ism (un il 1928)
and he bi h o he Na ional Tou is Boa d, as well as
he dic a o ship o P imo de Ri e a (1923-1930) and
he ad en o he Second Republic (1931). Su p ising-
ly, his pe iod is he one wi h he lowes numbe o
e e ences o “Al-Andalus he i age,” pa icula ly when,
as men ioned abo e, i is a pe iod o p omo ion o neo-
Mudeja a chi ec u e and p opaganda in p epa a ion o
he Ibe o-Ame ican Exhibi ion o 1929. This, howe e ,
may be because a la ge pa o he pe iod co esponds
o he Second Republic (1931-1939) and he Ci il Wa
(1936-1939). Wha e e he eason may be, he e is an
inc ease in e e ences o he a o emen ioned ea u es o
“Al-Andalus he i age” in Spanish ilms (58.54% o he
o al), wi h wo con empo aneous ilms s anding ou (one
F ench, he o he Spanish), which bo h depic loca ions
om he g ea Ibe o-Ame ican e en bu which a e dia-
me ically opposed in hei message and hei in e p e a-
ion o he “phan om image” o Andalusia: La Femme
e le Pan in (Jacques de Ba oncelli, 1929) and La Copla
Andaluza (E nes o González, 1929).
Thus, while La Femme e le Pan in, a F ench p oduc-
ion, used he o ien alis Mudeja Pa ilion o s age he
p o agonis ’s palace, in he Spanish p oduc ion La Copla
Andaluza, he ision was u ned 180 deg ees o show he
audience he Neo pla e esque Pa ilion (now he A chaeo-
logical Museum), bo h loca ed in he Plaza de Amé ica,
a key ocal poin o he Ibe o-Ame ican Exhibi ion. Si-
mila ly, he spi i o he wo ilms di e ges: while he
o me con inues o co espond o he oman ic ision o
F ench a elle s abou Andalusia, he la e a emp s o
c ea e a na ional cinema wi hou clichés, digni ying he
olklo e o he egion, by he wishes o he new Na ional
Tou is Boa d (1928).
16 • Al onso Fe nández-Tabales / Ma ia C. Puche-Ruiz
Cul u e & His o y Digi al Jou nal 13(2), Decembe 2024, 254. eISSN: 2253-797X, doi: h ps://doi.o g/10.3989/chdj.2024.254
“The Rou e o he Almo a ids and Almohads” (Ta i a-
G anada), which ha e been awa ded Eu opean Cul u al
I ine a y s a us by he Council o Eu ope.
Finally, wo las conclusions. On he one hand, he
ob ious di icul y o in eg a ing, e en oday, he Al-
Andalus pe iod in o a na ional Spanish his o ical na-
a i e, chie ly due o i s Islamic na u e, in con as o
he adi ional concep ion o Spain as a na ion o ged
on he ideological and symbolic axis o he Ch is ian
eligion. And, on he o he hand, aside om in e nal
deba es, he powe and alidi y o he ea u es o Al-
Andalus he i age as an iden i ying ea u e o Andalusia
in he eyes o o eign ou is ma ke s. This is a eali y
ha goes beyond he deg ee o his o ical accu acy ha
sus ains he Al-Andalus my h, as i has been eng a ed
in he Wes e n popula imagina ion o gene a ions,
and is, he e o e, an image ha impac s on p esen -day
Andalusia, which calls o mind a well-known quo e by
Ashc o : “s e eo ypes as well as being a e lec ion o
eali y can ans o m i , since eali y c ea es discou -
se as much as discou se c ea es eali y” (Saza o nil,
2015, p. 83).
ANNEXES: LIST OF FILMS
Table 1. Cinema as a documen (1905-1922).
FILM YEAR DIRECTOR
Le co e de Tolède 1914 Louis Feuillade
Les iancés de Sé ille 1914 Louis Feuillade
Sang e y a ena 1916 Vicen e Blasco Ibáñez
La ê e espagnole 1919 Ge maine Dulac
Chichine e e Compagnie 1921 Hen i Des on aines
El Do ado 1921 Ma cel L’He bie
Soleil e omb e 1922 Jeanne Roques
Blood and Sand 1922 F ed Niblo
Table 2. Cinema as p opaganda (1923-1939).
FILM YEAR DIRECTOR
La malchanceuse 1923 E.M. Dona ien
La Te e des Tau eaux 1923 Jeanne Roques
Cu i o de la C uz 1925 Alejand o Pé ez Lugín
El Niño de O o 1926 José Ma ía G anada
El Pa io de los Na anjos 1926 Guille mo He nández
Mi
La he mana San Sulpicio 1927 Flo ián Rey
La Femme e le Pan in 1929 Jacques de Ba oncelli
La Copla Andaluza 1929 E nes o González
Los cla eles de la Vi gen 1929 Flo ián Rey
La he mana San Sulpicio 1934 Flo ián Rey
Cu i o de la C uz 1936 Fe nando Delgado
Ma ía de la O 1936 F ancisco Elías
La Reina Mo a 1937 Eusebio Fe nández
A da ín
Table 3. The leaden yea s (1940-1959).
FILM YEAR DIRECTOR
Ma ingala 1940 Fe nando Mignoni
Blood and Sand 1941 Rouben Mamoulian
Pepe Conde 1941 José López Rubio
Tie a y cielo 1941 Eusebio Fe nández
A da ín
El en e de los suspi os 1942 Juan de O duña
Mis e io en la ma isma 1943 Claudio de la To e
La boda de Quini a
Flo es
1943 Gonzalo Delg ás
Ídolos 1943 Flo ián Rey
Olé o e o 1948 Beni o Pe ojo
Fi a e a ena 1948 Ma io Ma oli
Jalisco can a en Se illa 1949 Fe nando de Fuen es
La gui a a de Ga del 1949 León Klimo sky
Cu i o de la C uz 1949 Luis Lucia
Le dési e l’amou 1951 Hen i Decoin
Una cubana en España 1951 Luis Bayón He e a
La he mana San Sulpicio 1952 Luis Lucia
El seduc o de G anada 1953 Lucas Dema e
La Belle de Cadix 1953 Raymond Be na d
Puebla de las muje es 1953 An onio del Amo
Nui s Andalouses 1954 Mau ice Cloche
Châ eaux en Espagne 1954 René Wheele
El duende de Je ez 1954 Daniel Mang ané
Todo es posible en
G anada
1954 José Luis Sáenz de
He edia
Sucedió en Se illa 1955 José Gu ié ez Maesso
La C uz de Mayo 1955 Flo ián Rey
La Reina Mo a 1955 Raúl Al onso
Pa a siemp e amo mío 1955 Ti o Da ison
Cong eso en Se illa 1955 An onio Román
Suspi os de T iana 1955 Ramón To ado
Good-bye Se illa 1955 Ignacio F. Iquino
Cu a Vele a 1956 Ramón To ado
Les gi ls 1957 Geo ge Cuko
Il con e Max 1957 Gio gio Bianchi
Sae a del Ruiseño 1957 An onio del Amo
La Femme y le Pan in 1958 Julien Du i ie
Pane, Amo e e Andalusia 1958 Ja ie Se ó
A con o e sial legacy om he Roman ic pe iod. Al-Andalus echoes in ilms ea u ing ou is s (1905-1975) • 17
Cul u e & His o y Digi al Jou nal 13(2), Decembe 2024, 254. eISSN: 2253-797X, doi: h ps://doi.o g/10.3989/chdj.2024.254
Les bijou ie s du clai
de lune
1958 Roge Vadim
El C is o de los Fa oles 1958 Gonzalo Delg ás
Villa Aleg e 1958 Alejand o Pe la
Taxi, oulo e e co ida 1958 And é Hunebelle
El hincha 1958 José Ma ía Elo ie a
Tenemos 18 años 1959 Jesús F anco
Honeymoon 1959 Michael Powell
Tommy he o eado 1959 John Paddy Ca s ai s
I S a ed wi h a Kiss 1959 Geo ge Ma shall
Table 4. Tou ism is a g ea in en ion (1960-1975).
FILM YEAR DIRECTOR
Holiday in Spain 1960 Jack Ca di
Despedida de sol e o 1960 Eugenio Ma ín
The Magic Foun ain 1963 Fe nando Lamas
The Running Man 1963 Ca ol Reed
The Pleasu e Seeke s 1964 Jean Negulesco
Amado 1964 F ancisco Reguei o
Donde ú es és 1964 Ge mán Lo en e
En Andalucía nació el
amo
1966 En ique López Eguiluz
Los duendes de
Andalucía
1966 Ana Ma iscal
Camino del Rocío 1966 Ra ael Gil
G anada, addio! 1966 Ma ino Gi olami
El p óximo o oño 1967 An onio Eceiza
Días de iejo colo 1967 Ped o Olea
Amo a la española 1967 Fe nando Me ino
Ope ación Caba e e a 1967 Ma iano Ozo es
Fa hom 1967 Leslie H. Ma inson
Una chica pa a dos 1968 León Klimo sky
Obje i o BI-KI-NI 1968 Ma iano Ozo es
S ess-es es- es 1968 Ca los Sau a
El u ismo es un g an
in en o
1968 Ped o Lazaga
Cuidado con las seño as 1968 Julio Buchs
Una ez al año se hippy
no hace daño
1968 Ja ie Agui e
Ha d Con ac 1969 S. Lee Pogos in
El abominable homb e de
la Cos a del Sol
1970 Ped o Lazaga
El coleccionis a de
cadá e es
1970 San os Alcoce
Coqueluche 1970 Ge mán Lo en e
La no icia ebelde 1971 Luis Lucia
Les Cha lo s on
l’Espagne
1972 Jean Gi aul
Secues o a la española 1972 Ma eo Cano
Nigh Child 1972 James Kelley
Me has hecho pe de el
juicio
1973 Juan de O duña
Manolo La Nui 1973 Ma iano Ozo es
Una ela pa a el diablo 1973 Eugenio Ma ín
Qué cosas iene el amo 1973 Ge mán Lo en e
S a dus 1974 Michael Ap ed
Fin de semana al
desnudo
1974 Ma iano Ozo es
Una chica y un seño 1974 Ped o Masó
P o essione: Repo e 1975 Michelangelo
An onioni
DECLARATION OF COMPETING INTEREST
The au ho s o his a icle decla e ha hey ha e no
inancial, p o essional o pe sonal con lic s o in e es
ha could ha e inapp op ia ely in luenced his wo k.
FUNDING SOURCES
This pape is pa o he p ojec TED2021-131577B,
unded by MCIN/AEI/10.13039/501100011033 (Spain)
and he Eu opean Union Nex Gene a ionEU/PRTR.
AUTHORSHIP CONTRIBUTION STATEMENT
Al onso Fe nández-Tabales: concep ualiza ion, un-
ding acquisi ion, p ojec adminis a ion, in es iga ion,
me hodology, supe ision, w i ing – o iginal d a , w i-
ing – e iew & edi ing.
Ma ia C. Puche-Ruiz: concep ualiza ion, o mal
analysis, in es iga ion, me hodology, isualiza ion, w i-
ing – o iginal d a , w i ing – e iew & edi ing.
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