Title: Goya in the UNESCO, a film of Rafael Salvia
Duration: 12 min., 58 seg.
Sound collection: Radio Paris. Ramírez/del Campo
Summaries: Entrevista a José Camón Aznar y a Rafael Salvia con motivo de la presentación en la UNESCO de su película "Goya". Basada en un poema de José Camón Aznar y dirigida por Rafael Salvia. Es una película de género documental y biográfica
After II World War, Paris was seen in the West as a dilemma and capital of the world in many ways, especially in cultural terms. It is not a coincidence that it had located the headquarters of the UNESCO, a UN specialized agency, whose acronym means "United Nations Educational, Scientific and Cultural Organization." Founded in November 1945 and set up a year later, it was born with the objective of "contributing to the consolidation of peace, poverty eradication, sustainable development and intercultural dialogue through education, science, culture, communication and information ", as indicated in its founding act. However, the political composition of its Member States was marked by political divisions arising from II World War, element that was being rectified over time. In that context, Spain had a double problem. On the one hand, the Franco regime (imposed by the force of arms and former ally of Hitler and Mussolini) was not recognized internationally by the winning powers, and at the same time, the Republican government in the exile had close negotiations with the direction of UNESCO (in fact it was a defendor of its ideals) to get involved as a member. Finally, in the early 1950's, United States, Vatican and the UN, gave its support to the dictator, with what Francoist Spain was accepted in the bossom of UNESCO (a regime that did not respect human rights) to the detriment of the Republican Democratic government, which they put aside. However, as positive elements, this ingress allowed dissident groups to create a series of cultural platforms with great semi-clandestine political content: the Clubs of Friends of the UNESCO, being the earliest the one in Barcelona (1959), Madrid (1961) and Alicante (1966). In the sixties, under the French presidency of René Maheu, UNESCO actively participated in a major operation: the movement in Egypt of many monuments and architectural complexes, that the Aswan dam construction had endangered. An initiative that gave it a great prestige, changing its Parisian headquarters into a showcase of cultural dissemination of international scope.
Throughout the catalog, there are records relating to two of Spanish films, premiered at UNESCO headquarters, of which "Radio Paris" broke news, thanks to the interviews that Julian Antonio Ramírez made to their respective creators. First, Setenta veces siete, 1967, which was the first full-lenght film made by Felix Acaso, best known for his role as a voiceover actor, who lent his voice to the most important actors of the golden age of Hollywood. It was a very idealistic and symbolic film of religious content, where through the struggle between two gangs of youngsters from the suburbs, gave an allegory of the Passion of Christ and the message of first Christians. The title itself referred to the passage in which it is defined the times a Christian has to personify his peers. Franco's censorship (which always was more Catholic than the Pope) had put obstacles to its realization, although the intervention of the Archbishop of Madrid helped to save the film, at a time when there was tension between the Church and the Franco regime, given the guidelines of the Second Vatican Council. However, the premiere was at the headquarters of UNESCO, on the other hand, it only responded to commercial criteria of the producer, of North American origin. The second recording is stored Goya, 1974, defined by its creators as "a dramatic poem" about the last phase of the artist's life. Built through a text of José Camon Aznar, history and literature professor, under the direction of Rafael Salvia (some of whose works had laid the foundations of Spanish comedy of the sixties), the film sought to provide a psychological characterization of the senectitude of Goya, whose experiences on the devastation caused by the war, despotism and exile, offered a timeless portrait of raging news for those who had suffered the defeat of the Republic.
University of Alicante. University library. Music Library