The Spanish Catholic cinema after the breaking of the Autarky: mutual influences and limits of aperturism

Abstract

Integration in the OCIC, a Catholic critic in constant contact with abroad or the arrival of films from abroad were the three clearest premises of the breakdown of a certain autarky of Catholic cinema after the years of World War II. However, the Franco regime always wanted to keep its own vision of Catholicity and, above all, of its role before it. This article analyzes the effects of this openness both on the themes of the films and on the interpretations of film Catholicism, as well as the reception of foreign censorship and classification and the effects of the OCIC awards in Spain.