Competing Utopias? Musical Ideologies in the 1930s and Two Spanish Civil War Films

Although literature inspired by the Spanish Civil War has been widely studied, music so inspired has received far less scholarly attention, and film music even less so. Musical ideologies of the 1930s, including the utopian thinking of many artists and intellectuals, emerge in some surprising ways when we consider two films of the era. Both The Spanish Earth (1937), an independent documentary, and Blockade (1938), produced in Hollywood, were intended to awaken Loyalist sympathies. The music for the former, consisting of recorded excerpts chosen by Marc Blitzstein and Virgil Thomson and widely understood as folkloric, embodies leftist composers' idealization of folk music. Werner Janssen's score for Blockade relies on many stock Hollywood gestures, granting it the status of a commodity. This article explores both films in light of Michael Denning's reflections of the relationship between the “cultural front” and the “culture industry,” along with Fredric Jameson's advocacy of the Utopian principle as a hermeneutic tool. It argues that the music for The Spanish Earth unwittingly subverts the Loyalist cause, whereas the score of Blockade, with its manipulation of Hollywood codes, is far more persuasive than the political whitewashing of its plot would seem to suggest.