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Abstract
This paper seeks to reveal the prejudices of political
anthropology underlying war propaganda documentaries
filmed by Frank Capra by order of USA War Department.
Capra filmed these documentaries, despite his confessed
admiration by the Nazi documentaries filmed by Leni
Riefenstalh, in a clear contrast to them. Our purpose is to
show that both examples of documentary, distant in the
form and substance, sum to the intrinsically handling of
audiovisual language, the ideological one.
References
R. Girona i Duran, Why we figth de Frank Capra. El cinema al servei de la causa aliada, pp. 170-173.
R. Eberwein, The Hollywood war film, Blackwell, Oxford, 2010, p. 20.
R. Girona i Duran, Why we figth de Frank Capra, El cinema al servei de la causa aliada, IVAC, Valencia, 2009, pp. 154 y ss.
“Memo, Lyman Munson to Col. Watrous (with Enclosure on Propaganda by Eric Knight), May 26, 1942, Munson Papers” en D. Culbert, ed., Film and Propaganda in America. A Documentary History, Vol. III, World War II, Part 2 Greenwood Press, New York, 1990. P. 105. El texto completo del Memorándum se puede encontrar en la dirección: http://historymatters.gmu.edu/d/5150/
Frank Capra, El nombre delante del título, T&B Editores, Madrid, 2007,
C. F. Heredero,
John Huston. Ediciones J.C. Madrid 1984, pp. 70-72.
Huston, A libro abierto. Memorias, Espasa Calpe,
Madrid, 1986, pp. 153-158.
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