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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>1. The Temptation of Empire</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Equatorial Guinea during the 19th and 20th century</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Archives are not merely sources for extracting knowledge but generators of colonial knowledge. Anthropologist Ann Laura Stoler argues that archives are “cultural artifacts of fact production, of taxonomies in the making, and of absurd notions of what made up colonial authority. Reading along the archival grain opens up enriching readings of them as sites of contested knowledges.”&#13;
&#13;
The first section, "The Temptation of Empire,” shows how written records, pavilions, and audiovisual products about Equatorial Guineans during the 19th and 20th centuries served as propaganda to legitimize the imperial project after the loss of Spain's colonies of the Philippines, Cuba, and Puerto Rico. &#13;
&#13;
Inspired by the contributions of the issue of Bulletin of Spanish Visual Studies “El archivo colonial bajo el foco: representaciones audiovisuales de Guinea Ecuatorial” [The colonial archive in the spotlight: audiovisual representations of Equatorial Guinea], this part of the exhibition addresses how visual production along the 19th and 20th century not only deal with obvious propaganda messages, but also reveal contradictions and ambiguities within the colonial rule. Most of these resources are relatively still unknown within Hispanic studies and in cultural visual studies on European imperialism. &#13;
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="4">
                <text>Alexis Hernando Cubas</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="537">
                <text>August, 2024</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="538">
                <text>Creative Commons</text>
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            <name>Relation</name>
            <description>A related resource</description>
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                <text>González, Danae G., and Diana Arbaiza. "El Archivo Colonial Bajo El Foco: Representaciones Audiovisuales De Guinea Ecuatorial." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 159-174.&#13;
&#13;
Colmenero, Sara Santamaría. “El Paraíso Perdido: Nostalgias Coloniales En El Archivo Audiovisual de Guinea Ecuatorial (2000–2020).” Bulletin of Spanish visual studies. 6.2 (2022): 303–324. Web.&#13;
&#13;
Moriente, David, and Guillermo Navarro. "La Invención De Guinea Ecuatorial En La España De Franco: Una Visión De La Colonia a Través De Los Sellos De Correos." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 217-237.&#13;
&#13;
Stehrenberger, Cécile S. "Science Images and Colonialism in Equatorial Guinea." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 239-258.&#13;
&#13;
López Sanz, Hasan G. "'Guinea. Negocio y Misión': La Fotografía En La Representación Del Poder y La Construcción De Sujetos Coloniales En Las Ferias Muestrario De Valencia De 1942 y 1946." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 197-215.</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>English and Spanish</text>
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            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>Spain, Equatorial Guinea</text>
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    <name>Still Image</name>
    <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
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        <name>Original Format</name>
        <description>The type of object, such as painting, sculpture, paper, photo, and additional data</description>
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            <text>Stamp</text>
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          <name>Title</name>
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              <text>Ideological Uses of Colonial Stamps</text>
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          <name>Subject</name>
          <description>The topic of the resource</description>
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              <text>Colonial Stamps of the Spanish Guinea during Francoism </text>
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          <name>Description</name>
          <description>An account of the resource</description>
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              <text>Colonial stamps of Equatorial Guinea, particularly those produced during the Franco dictatorship in Spain (1939-1975), are a significant part of the country’s philatelic history. These stamps, created by the Fábrica Nacional de Moneda y Timbre (National Mint and Stamp Factory) of Spain, offer a visual narrative that reflects the colonial and ethnocentric perspectives of the era, which included representations of the mainland region (Río Muni) and the island region (Fernando Pó).&#13;
&#13;
The designs of these stamps often carried an ethnocentric and colonial message. According to David Moriente and Guillermo Navarro, these stamps portrayed a landscape discourse that depicted Equatorial Guinea as a "vacant paradise" rich in natural resources, ripe for Spanish exploitation and settlement. The stamps featured several recurring themes, which can be summarized as follows:&#13;
&#13;
Natural Landscapes and Riches: These stamps often depicted the lush, wild nature of Equatorial Guinea, highlighting its natural resources and portraying it as an unspoiled land of plenty.&#13;
&#13;
Indigenous Peoples: The activities and physical characteristics of the Bubi and Fang peoples were commonly illustrated. These depictions were framed from a colonial perspective, emphasizing the 'civilizing' influence of Spanish colonizers.&#13;
&#13;
Colonial and Evangelizing Activities: Stamps frequently showcased the various ways in which Guineans engaged in work under colonial rule, often highlighting the impact of Spanish 'civilizing' and evangelizing missions. This included scenes of agricultural work, construction, and religious activities, presenting a narrative of colonial dominance and acculturation.&#13;
&#13;
Binary Opposition: The designs clearly displayed a binary opposition between the Spanish dominators (portrayed as superior and enlightened) and the Guinean dominated (portrayed as inferior and in need of civilization).&#13;
&#13;
Artist include: Teodoro Miciano, Germán Calvo, Emilio Marín, Emiliano Salamanca, Vicente Vila,  Vicente D'Urosa.</text>
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        <element elementId="39">
          <name>Creator</name>
          <description>An entity primarily responsible for making the resource</description>
          <elementTextContainer>
            <elementText elementTextId="155">
              <text>Fábrica Nacional de Moneda y Timbre [National Mint and Stamp Factory of Spain] </text>
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        <element elementId="40">
          <name>Date</name>
          <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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            <elementText elementTextId="156">
              <text>1951-1961</text>
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        <element elementId="51">
          <name>Type</name>
          <description>The nature or genre of the resource</description>
          <elementTextContainer>
            <elementText elementTextId="157">
              <text>Stamp </text>
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          <name>Source</name>
          <description>A related resource from which the described resource is derived</description>
          <elementTextContainer>
            <elementText elementTextId="627">
              <text>Moriente, David, and Guillermo Navarro. "La Invención De Guinea Ecuatorial En La España De Franco: Una Visión De La Colonia a Través De Los Sellos De Correos." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 217-237</text>
            </elementText>
            <elementText elementTextId="628">
              <text>F. Núñez de Celis, Paisajes y efigie del General Franco. Bahía de Santa Isabel (1951). Sello postal. Guinea Española.</text>
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            <elementText elementTextId="629">
              <text>Vicente D’Urosa, Día del sello. Porteadores (1961). Sello postal. Fernando Poo.</text>
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            <elementText elementTextId="630">
              <text>Teodoro Miciano, Conferencia Internacional de Africanistas Occidentales (1951). Sello postal. Guinea Española.</text>
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            <elementText elementTextId="631">
              <text>Teodoro Miciano, V Centenario de Isabel la Católica. Espíritu Santo e indígena (1951). Sello postal. Guinea Española.</text>
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            <elementText elementTextId="632">
              <text>Teodoro Miciano, Mujer con paloma (1953). Sello postal. Guinea Española</text>
            </elementText>
            <elementText elementTextId="633">
              <text>Germán Calvo, Tipos indígenas. Hombre con tam-tam (1953). Sello postal. Guinea Española.</text>
            </elementText>
            <elementText elementTextId="634">
              <text>Emilio Marín, Centenario de la Prefectura Apostólica de Fernando Poo, Annobón y Corisco. Bautismo (1955). Sello postal. Guinea Española.</text>
            </elementText>
            <elementText elementTextId="635">
              <text>Mariano Salamanca, Pro-infancia. Hombre indígena ante crucifijo (1961). Sello postal. Fernando Poo.</text>
            </elementText>
            <elementText elementTextId="636">
              <text>Vicente Vila, Proinfancia. Mujer indígena y bendición (1961). Sello postal. Fernando Poo.&#13;
</text>
            </elementText>
            <elementText elementTextId="637">
              <text>Juan José de Castro, Niño indígena y misionero (1960). Sello postal. Río Muni.</text>
            </elementText>
            <elementText elementTextId="638">
              <text>Vicente D’Urosa, Pro-indígenas. Misionero (1958). Sello postal. Guinea Española.&#13;
</text>
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          </elementTextContainer>
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          <name>Publisher</name>
          <description>An entity responsible for making the resource available</description>
          <elementTextContainer>
            <elementText elementTextId="639">
              <text>Fábrica Nacional de Moneda y Timbre [National Mint and Stamp Factory of Spain] </text>
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            <elementText elementTextId="640">
              <text>Museo Casa de la Moneda, Madrid (España)</text>
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            <elementText elementTextId="641">
              <text>Moriente, David, and Guillermo Navarro. "La Invención De Guinea Ecuatorial En La España De Franco: Una Visión De La Colonia a Través De Los Sellos De Correos." Bulletin of Spanish Visual Studies, vol. 6, no. 2, 2022, pp. 217-237</text>
            </elementText>
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        </element>
        <element elementId="47">
          <name>Rights</name>
          <description>Information about rights held in and over the resource</description>
          <elementTextContainer>
            <elementText elementTextId="642">
              <text>Fábrica Nacional de Moneda y Timbre [National Mint and Stamp Factory of Spain]</text>
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          </elementTextContainer>
        </element>
        <element elementId="42">
          <name>Format</name>
          <description>The file format, physical medium, or dimensions of the resource</description>
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            <elementText elementTextId="643">
              <text>Physical Medium</text>
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          </elementTextContainer>
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        <element elementId="44">
          <name>Language</name>
          <description>A language of the resource</description>
          <elementTextContainer>
            <elementText elementTextId="644">
              <text>Spanish</text>
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          </elementTextContainer>
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        <element elementId="38">
          <name>Coverage</name>
          <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
          <elementTextContainer>
            <elementText elementTextId="645">
              <text>Equatorial Guinea</text>
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      <name>Colonial Stamps</name>
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      <name>Fábrica Nacional de Moneda y Timbre</name>
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