[1][2] As a result, Franco called for the censorship of materials that promoted liberal ideas from abroad, particular those of European origin.
Political censors, on the other hand, would repress visible signs of liberal behavior and seek to paint a positive image of Franco.
In response to government suppression, Spain saw an era that subsequently fostered a culture of resistance, expressed in various art forms.
[4] In Francoist Spain, repression of political and cultural liberalism was a primary motivator for censors editing various literary works.
In this way, translation served as a means to restructure and alter original versions of various works, rather than a bridge for intercultural exchange.
Censorship boards were founded in order to properly revise and censor foreign works entering Spain.
After the end of the Spanish civil war, intellectuals with visible Catalan ideologies were punished in various ways, including execution, subjugation and forced labor.
[1] Along with the imprisonment, execution and exile of these individuals, traces of Catalan identity were removed from formal use, such as newspapers, state education and magazines.
Its regulation gave a prominent place to the Catholic Church: according to article 4, the vote of the ecclesiastical representative at the Junta "will be especially worthy of respect in religious matters, and will be decisive in serious moral cases in which he expressly states his veto".
Acción Católica Española (ACE, the Spanish branch of Catholic Action) exercised the majority power of censorship related to creative projects being published in Francoist Spain, so "ACE's cultural repression intended to reproduce and indoctrinate society in certain models of behavior, which responded to the ideology approved by the Church".
[14] Another clergyman, Father Peiró, headed a censor team that led moral and religious censorship of movies.
In 1950, the Catholic Church created the Oficina Nacional Clasificadora de Espectáculos ("National Entertainment Classification Office"), which rated each film —according to moral and religious criteria that remained in place for many years— and issued an eventual ecclesiastical recommendation.
[13] From 1951, with the appointment of integralist Gabriel Arias Salgado as Minister of Information and Tourism, it starts a highly repressive era for Spanish cinema.
[15] Father Ayala, an influential Catholic propagandist, stated: "Cinema is the greatest calamity that has befallen the world from Adam to this time.