Vanguardia cinematográfica y disensión política en Rojo y negro (Carlos Arévalo, 1942)

Abstract

This paper intends to study the circumstances, both aesthetical and ideological, that turned Rojo y Negro (Carlos Arévalo, 1942) into a unique piece of work of the Spanish postwar cinema. The political ideas expressed by the film –which belonged to a decadent Falange in favour of European fascism– and its striking avant-garde style – influenced by the Soviet montage and Surrealism– lead to the withdrawal of such an inconvenient film for Franco’s Regime.