Canciones para después de una guerra (Martín Patino, 1971) comprises an ironic archive documentary about Spain during the forties. Using different editing strategies -such as re-location of materials, fusion between sound and image, figures of speech and montage effects-, the film proposes an alternative view to the dominant one offered by Franco' s official media. The movie provides a re-reading of the Spanish postwar period that combines the historical report of years of shortage and isolation, the political criticism of an authoritarian regime and the sentimental force symbolized by the popular songs.

This article shows the results of the analysis of 1.636 letters to the editor published in reference journals in Spain (El País and ABC), France (Le Monde and Le Figaro), Great Britain (The Times and The Guardian) and United States (The New York Times) and it also presents the letters published by a specialized magazine, El Ciervo, during Franco' s dictatorial regime. The application of a method which distinguishes the participation letters from those exchanging opinions and those others promoting intervention allows to differentiate the approach the journals take to the readership participation in the mass media. This method also permits to build up a formula to measure the degree of involvement between the readership and the journal which has been referred to as the Community Scale.

The known as " Finis Austriae" got its reply/response in various fields of art and thought, as a sample/token/sign of the last modernity. The suggested project is based on music from that period, as an abstract reply/response to the fateful reality of a world in its last days. Mahler, Schönberg and Strauss catalysed the last sighs of the IMPERIO AUSTROHÚNGARO with sthetic options and artistic languages different from each other but with the same intuition and similar results. The article collects/includes and adapts a conference delivered at the Fundación Juan March of Madrid on October the 10th of 2007

A producer, Barbachano Ponce; an ideologue and cultural animator, Fernando Gamboa; an exiled republican cineaste, Carlos Velo, are part of a generation which transformed the way of thinking about documentaries while at the same time applying it to the making of certain works which comprise the body of film work of the New Aztec Cinema (NCA). By means of a small film which has recently been recovered, La Tierra del Chicle, we can follow the auteur' s stamp, its importance in the configuration of the aforementioned NCA and examine realism as a reference for the documentaries in which Velo left his mark. The decade of the 50s, the cinematographic culture of this era, including the conditions of production, and an attitude which exhibits his belief in the works he wanted to make, provides us with numerous clues to construct a space for dialogue in the contemporary debate around the documentary.