ABSTRACT
This chapter aims to explore the urban spaces created for the Ibero-American Exposition (Seville, Spain, 1929) through their cinematographic depiction. It provides a different perspective, analysing five singular films that demonstrate how preparations for the international fair were intentionally showcased in cinemas with a view to establishing Seville’s international image.
These films, which also highlight the figure of contemporary visitors, will help us understand how Seville was architecturally configured in the early 20th century as a double and deliberate fiction for tourism: the whitewashed Andalusian garden city portrayed as a passionate and mythical setting for cinema audiences, an invention immediately identified with traditional Spain.
