Visual-spatial intelligence in propaganda and public relations discourse: The case of Roberto Rossellini’s early and educational-historical films

Self Cite

The Spanish Civil War occupies a very relevant place in the collective memory of Europeans. At the beginning of the War, Spanish filmmaker Luis Buñuel received instructions from the Spanish Ministry of Foreign Affairs to return to Paris and assist the Spanish embassy in various types of counterintelligence and propaganda work. As part of this, Buñuel organized and assembled footage of the Republicans. Unlike other productions compiled in Spain, the Republican propaganda films made in Paris were generally addressed at audiences in different European countries with the aim of breaking the doctrine of non-intervention in the conflict, and they reflect Buñuel's theories and conception of the documentary films. These films represent good examples of ethical propaganda and their aim was more informative than manipulative. From this standpoint, and in accordance with other research on public relations discourse and film, we argue that the films supervised by Buñuel in this period, and especially the most noteworthy documentary España leal en armas (1937), are examples of public relations films in wartime.

Section: España Leal En Armas (1936)mentioning

confidence: 99%

“…Accordingly, this paper will try to fill this gap adding a new perspective, followed by other scholars (e.g. Xifra & Girona, 2012;Quintana & Xifra, 2016;Thomson, 2016):…”

Section: Collective Memory Public Relations and Filmmakingmentioning

confidence: 99%

Public relations discourse, ethical propaganda and collective identity in Luis Buñuel’s Spanish Civil War films

Olmo

Xifra

2017

Self Cite

“…Papers focussed on the analysis or application of theory to film from a public relations perspective (Xifra & Girona, 2013;St. John and Arnett, 2014;Quintana and Xifra 2016, for example) have illuminated the methodological possibilities in critically examining films as historical artefacts in their own right and also their role (or intended role) in campaigns. These methodological templates of filmic studies oriented around public relations concerns were extended in this paper to include a consideration of the careless talk posters that appear in the film, and which were obtained from the Imperial War Museum's collection of World War II material.…”

Section: Interpreting the Imagery Of The Next Of Kinmentioning

confidence: 99%

The Next of Kin: Propaganda, realism or a film with a purpose?

Thompson

2016

This article describes use of realism in the World War II propaganda film, The Next of Kin, and the purposive approach to public information film making used by the director, Thorold Dickinson to convey a didactic message about careless talk in cinematic form. Through this historical exposition - based on archival research in Thorold Dickinson's papers in the UAL Archives and Special Collections - of a purposive and realistic form of public information discourse in wartime cinema, the paper adds to public relations (PR) historical knowledge of the filmic past

Extremes of Engagement: The post-classical public relations of the Islamic State

Thompson

2017

Article that claims Islamic State operates a rational, modern and systematic process of engagement using digital public relations.\ud \ud \ud Highlights:\ud \ud •Islamic State operates a rational, modern and systematic process of engagement using digital public relations.\ud \ud • The naming system of Islamic State and its ideology are coherent and underpin the recruitment narratives.\ud \ud • The public information institutions of Islamic State combine content production and distribution for recruitment outreach.\ud \ud • Aspects of Islamic State’s communications outreach offers a post-classical template for public relations